February 1992 BULLETIN ASSOCIATION OF ART HISTORIANS Editor: Clare Pumfrey, 40 Sillwood Road, Brighton BN1 2LE Tel: 0273 29433 Advertising Manager: Kate Woodhead, Dog and Partridge House, Byley, Cheshire CW10 9NJ Tel: 060 684 5517

ENCE NEWS SESJGFT- TRADING ON BULLETIN HISTORY deadlines DESIGN The copy deadlines for the Conference of the Design History Society next four issues of the Bulletin are as follows: Manchester December 11-13 1992

Issue 45 (May): CALL FOR PAPERS packaging or in th* e choice and design of 1 April objects. The Conference will be on Design and Issue 46 (August): Commerce from the 18th Century to the present day in the local, national and DESIGN AND INTERNATIONAL Uuly international contexts. TRADE Contributors might look at the impact of Issue 47 (November): TRADE IN TEXTILES international commerce on national cultures 1 October Contributors might consider the use of or or consider the diversifying or trade in textiles in the specific context of standardisation of tastes and experiences Manchester or in the national or with reference, for example, to architecture Issue 48 (February 1993): international arena. and urban form or packaging and corporate 4 January 1993 identity. DESIGN, TRADE AND EDUCATION The deadlines for printed Issues that might be considered are the inserts to be included in the place of design in national and international SEND PROPOSALS FOR PAPERS Bulletin fall at the end of the commerce, the role of state and national BY 1 JUNE 1992 TO: bodies, exhibitions and trade fairs, the month prior to publication. education of the designer and the consumer. (Preferably accompanied by a brief abstract) DESIGN AND John Hewitt REPRESENTATION Department of History of Art and Design Topics could include the formation of Manchester Polytechnic national or foreign identities and the Righton Building emergence of gender, race and class based Cavendish Street stereotypes in connection with trade and Manchester M15 6BG commerce, through advertising and Fax.: 061 247 6308 LEEDS CONFERENCE LEEDS CONFERENCE 1992 SUBVERSIONS' OBJECTS LEEDS POLYTECHNIC AND LEEDS UNIVERSITY 10-13 APRIL 1992

SUBVERSIONS' OBJECTS will be the eighteenth annual conference of the Association of Art Historians. The conference aims to draw attention to practices, processes and discourses within art and within art history that have been ignored, marginalised or occluded. A special emphasis on sculpture (as object, as discourse) will be included, along with a consideration of objects and discourses that appear to be illegible within art and art history: the fields of popular culture and forms of electronic cultural production. In what ways may these practices, objects and discourses appear as 'subversive'?

Organisers: Tony Hughes, Department of Fine Art, Leeds University, and Jonathan Harris, Leeds Polytechnic. General Information

The opening address to the conference will Centre, near Halifax. (Trip to be organised installation entitled "The Stellar Nursery". be given by T J Clark, Professor of Art by the Henry Moore Foundation) The work is concerned with journeying, History at University of California, through space and time, and with the Berkeley. Professor Griselda Pollock, of Further information about cost, booking wreckage left behind when certainty shatters Leeds University, will close the Conference. arrangements and pick-up points will be on the rocks of rationalism. It deals with A third keynote speaker will address the sent to members. ideas of making order out of chaos and conference on the middle day of academic subverting the rational and scientific through business. EXHIBITIONS a sophisticated visual presentation. Along with 20 academic sessions, to be Catalogue essay by Dr Wendy Leeks, held over the Friday, Saturday and Sunday On the Brink? Lecturer in History and Theory of Art and of the conference, the following visits have An exhibition will be held at Leeds Design, Leeds Polytechnic. For further been arranged. University to coincide with the conference. information contact Claire Slattery, Leeds It will be called 'On the Brink?' and will Polytechnic Gallery, telephone (0532) Sunday 12 April feature the work of three contemporary 832600 ext 3499. National Museum of Photography, Film women sculptors. and Television, Bradford. (Trip to be organised for Sunday as the Museum is Archaelogy - New Work by Penny Receptions forconference delegates will be closed on Mondays) McCarthy held each night, hosted by Leeds Polytechnic To coincide with the Association of Art (Friday), Leeds University (Saturday) and Monday 13 April Historians Conference, Leeds Polytechnic Leeds City Art Museum (Sunday). 1. 1853 Gallery, Saltaire, nr. Bradford. The Gallery is presenting an exhibition of work gallery contains the largest collection of by Penny McCarthy, the 1991 Henry Moore We hope to provide evening entertainment prints by David Hockney belonging to any Drawing Fellow at the Polytechnic. on the Saturday night of the conference and gallery. The exhibition is about the Post-modern to this end wish to invite Bulletin readers relationship between the written word and capable of playing musical instruments to 2. The Bowes Museum of painting and pictorial representation. It establishes a write to Jonathan Harris, who plans to decorative arts, Barnard Castle, nr. Durham. dialogue which is intentionally playful and organise an Art History Group (on the contradictory by employing a confusion of model, say, of The Doors). Perhaps a series 3. Temple Newsam House, a Tudor house text and signs such as maps, geometric of 'rehearsals' could be arranged leading on the outskirts of Leeds. symbols and figurative elements. The show up to April 1992. Any vocalists would also includes a series of large-scale sepia be very welcome. 4. The Yorkshire Sculpture Park, Bretton drawings and mixed-media work using Hall & Dean Clough Sculpture Exhibition colour xeroxes and found objects, and an

2 LEEDS CONFERENCE TIMETABLE

FRIDAY 10 APRIL 9.00 - 14.00 Registration 12.00 - 14.00 Lunch 14.00 - 15.30 Plenary Session: speaker TJ Clark 15.30 - 16.00 Tea 16.00 - 18.10 Academic Sessions: Australia Censorship and Permissability Cultural Colonisation Patronage and Collecting in the Decorative Arts The Practice of Sculpture Renaissance Sculpture Printmaking before 1900 Tombs, Monuments and Memorials Sculpture in the Public Realm Evening Reception: Leeds Polytechnic, Beckett Park

SATURDAY 11 APRIL 9.00 - 10.25 Academic Sessions: Australia Censorship and Permissability Cultural Colonisation Patronage and Collecting in the Decorative Arts The Practice of Sculpture Printmaking before 1900 Renaissance Sculpture Sculpture in the Public Realm Tombs, Monuments and Memorials Can Design be Subversive? Fantasy Unnatural Selection Sculpture and Anti-Sculpture On the Social History of the Social History of Art Television and Video Art Historical Subversions in the US. 10.25 - 10.50 Coffee 10.55 - 13.05 Academic Sessions: as above 13.05 - 14.00 Lunch 14.00- 16.10 Academic Sessions: as above 16.10- 16.30 Tea 16.30 - 18.00 Plenary Session: speaker to be announced 18.00 - 19.00 Meeting of the Polytechnic and University Groups for the Consideration of Teaching Evening Reception: University of Leeds

SUNDAY 12 APRIL 9.00 - 10.00 Special Interest Groups 10.00- 10.30 Coffee 10.30- 12.30 AGM 12.30- 13.30 Lunch 13.30- 16.25 Academic Sessions: Patronage and Collecting in the Decorative Arts Printmaking before 1900 Tombs, Monuments and Memorials Deconstruction: Art and Propriety Unnatural Selection Art Historical Subversions in the US Subversions' Objects: Discourses of Labour The Visual and the Verbal The New Sculpture 16.30 17.00 Tea 17.00 18.30 Plenary Session: speaker Griselda Pollock Evening Reception: The City Art Gallery and Henry Moore Centre for the Study of Sculpture

3 LEEDS CONFERENCE ACADEMIC SECTIONS

Fantasv reflected the society, culture and especially photographs, these images show British Convener: Nannette Aldred, University of the politics of their time. men and women posed in the indigenous Sussex However, the revival of interest in clothing of peoples from parts of the world alchemy on the part of artists in the 1980s that Britain had colonized or was colonizing. Fantasy offers a mode of investigating the has a more complicated character. This has The imitation or mimicry that is at work in psychic formation of the self at its to be analyzed with great discrimination, as these images is also a central concept in the intersection with its cultural and historical in the work of Francesco Clemente or Sigmar formation of human subjectivity and social specificity. Since the early '80s it has been Polke. The archaic content of alchemy's identity. Although appearing to transgress used to consider certain narrative forms but vast repertoire of symbols is not always the conventional boundaries of colonizer can offer a way of considering other forms acceptable in contemporary Western terms. and colonized, (of one culture taking on the of painting and sculpture besides Surrealism There are severe problems with the identity of another) the photographs might and other forms of visual culture besides writing of the history of alchemy itself. For, be read as the mise-en-scene of colonial film. This session aims to explore the due to the complete lack of an objective and fantasy - contributing to the picture that possibilities of using the theory of fantasy constant basis for interpretation of the one society imagines about another, a picture to interrogate a number of different texts. treatises, the writing of the history of that frequently determines their future Papers will include theories of the uncanny alchemy is, in fact, the re-writing of the relationship. to consider the relationship between original treatises. It is virtually impossible expressionism and fairy tales, an to write an 'objective' history of alchemy 3. Dr Philip Stokes (Nottingham investigation of the alchemical in works by and its visual images. It almost seems as if Polytechnic) contemporary German artists, a alchemical treatises absorb the 'outsider', Legions in the Sky, Pictures in the Fire: consideration of the construction of the self that which tries to view them or to speak The Photograph as a Fantastical Thing as artist in Wyndham Lewis, photography about them in the third person. 'History' is (provisional title) as colonial discourse and as document, and translated into the voice of a first person The photograph in perception has as much an exploration of the mother/child speaker, of a practitioner. There are almost of its character akin to that of an image relationship in film. The session will no historians of alchemy but rather a generated in the mind, as it has to an optically consider the validity of fantasy as the succession of, often unwilling, alchemists. and chemically generated image of the articulation of the repressed in cultural exterior world. history and some of the papers will engage 2. David Bate (West Surrey College of This paradoxical state is extended and with psychoanalytical theory. Art and Design) complicated by photography' s condition of The Significance of Photography History: being on the one hand, supposed to be a 1. Urszula Szulakowska (Bretton Hall Colonial Fantasy and Mimicry in geometrically accurate transcription of what College, Leeds University) Photography has existed before the camera; whilst on the The Fictive History of Alchemical This paper argues that the concept of fantasy other, it provides enormous opportunities Illustration: Sexuality and Utopia is necessary for a social history of for fabrication in the making of its images Alchemical visual imagery is a creation of photography. While social historical and, completely lacking the contextual the late 14th century in Western Europe. analyses have been productive in accounting anchors inherent in the other arts, the The images are noteworthy for their fantasy, for the determinations of pictures, ie as photograph, whether straight, staged or their sexual explicitness and often for their products of patronage, imperialism, etc., constructed, positively encourages an degree of violence. Each manuscript this approach has not been able to grasp the infinity of fabulations by its viewers. produces its own original iconography, particular ideological effectivity of specific The consequences of this situation will while the later published treatises produce images. Analysis of this effectivity requires be examined and expanded relative to elaborate alchemical cycles of bizarre and a recognition of the subjective processes of Surrealist seamed and seamless constructed extraordinary complexity rarely matched spectatorship, processes that have been imagery. So-called straight photography, it in other Western art. described by psychoanalytic theory. Far will be proposed, has its own powers the The 20th century artistic avant-garde from rejecting fantasy as a form of escape more strongly by virtue of its straightness. often compared alchemical transmutation from social reality, psychoanalytic theory Contemporary practices of inflection, with art's potential to transform the has recognised the reality of fantasy in staging and construction all show that the individual and society. Such ideas had a everyday life. We might then seek to analyze role of the photograph as a medium for Utopian connotation. In the cases of, for what particular forms of fantasy circulate in fantasy retains its historical importance. example, the Surrealists, Joseph Beuys, Arte any given historically specific moment. More important may be the question as to Povera and film-makers such as Jean To address these issues the paper how profoundly and perhaps inevitably Cocteau and Jan Svankmajer, alchemical examines a repetitive image in the archives these properties subvert the traditional concepts had a subversive cultural or of 19th-century photography. values ascribed to the photographic medium. political edge. Alchemists have always Conventionally defined as 'costume' 4 4. David Peters Corbett (Manchester Sigmund Freud's writing, namely the this area as a whole. Polytechnic) relations between mother and daughter. Fantasy and the Imaginary Artist: Wyndham My paper explores the imaginary space 1. David Miller (Glasgow University Lewis in the '20s with which Sally Potter's two heroines, Media Group) Victor Burgin and his collaborators Ruby and Celeste, attempt to solve the Freedom of Speech, Public Offence and the conclude in Formations of Fantasy that it is riddle of feminine identity. The film suggests Democratic Society: Debating the in the space between public and private that that the reformulation of our own self- legitimacy of censorship fantasy stages its mise-en-scene of desire. image is contingent upon our ability to This paper looks at the justifications used Fantasy, that is, embodies desire in ways undermine and rework traditional by different groups of people to censor that respond to the pressures of the situation characterisations of the feminine. I want to visual and written material. From the British in which desire must express itself. It can investigate Ruby' s shift towards a Kristevan Government's Ban on direct interviews with therefore be used to map the transactions understanding of subjectivity, paying political groups in the North of Ireland, to between the artist's self and the culture particular attention to the maternal dynamic the ban on incitement to racial hatred. From which gives his or her career form and and the primary narcissistic functions Christian objections to the last Temptation which bestows or withholds value and implicated in the initial construction of an of Christ to Muslim objections to the Satanic- meaning. I argue that art in English ideal self-image. Verses and from the feminist campaign modernism embodied a complex of against pornography and other meanings which can be described as status representations of women to debates around within opposition. Art could be a means of Censorship and Permissibility the representation of HIV/AIDS. I will simultaneously declaring one's oppostiion Convener: Fionna Barber (University of examine key common arguments such as to, and inserting oneself within, the Ulster) the notion of Offence and the liberal dominant discourses of the culture. In these conception of freedom of speech and argue circumstances the work of art functions as At the current moment the debate around that neither of these are sufficient grounds the site in which a fantasized satisfaction of censorship and associated issues is both for either censoring or preventing the status and achievement can be played out in expanding and diversifying. On one level censoring of representation. Instead, contrast to the disappointments of the this has been marked by a series of events drawing these disparate debates together I biographical career. I examine Wyndham which include both the Rushdie Affair and will suggest that questions about the effect Lewis as an example of this process. Before the attempts to restrict the operations of the or censorship on actual power relations and 1914 Lewis' s clear ambition was to establish National Endowment for the Arts in the normative questions about the type of himself as an important and respected voice, United States. The conflict in the Gulf has society we want to live in, should be at even if he chose to pursue this through the also raised more general questions about centre stage in any debate about policing apparently iconoclastic role of the Vorticist. the effects of censorship in the representation representation. After the First World War the possibility of of war. Yet there is a further and deeply achieving this aim came to seem relevant aspect of this issue - the increasingly remote to Lewis and the 2. Wendy Frith (Bradford & Ilkley irreconcilability of notions of censorship productions of the '20s contain fantasized Community College, University of Leeds) with the entrenched ideologies or artistic resolutions and dramatisations of his painful 'In Obedience to Nature': Constructions of freedom and individual creativity relationships with the art establishment and the sexual in early I8th-century England underpinning art practice. with the values of post-war English culture. The decline of the power of the church to I will analyse the 1921 exhibition 'Tyros In addition to those engaging with current define, prescribe and prohibit forms of and Portraits' and Lewis's journals The debates around censorship, papers are also sexual behaviour in the late 17th century Tyro and The Enemy as instances of the invited which address the role of visual has often led to the perception that early fantasized negotiation of world and desire imagery in the historical construction of 18th-century England witnessed a moment 4 in Lewis and link their appearance to his political and sexual freedom. Proposals of sexual liberation'. Such a view, then and relationship to English culture and his failed which engage with the following areas are now, is premised on the assumption that attempt to find a voice to speak within it. also particularly welcome: 'sexuality' is a natural given, capable of • The debates^ around legislative control being 'liberated'. However the postulation within both the visual arts and other of4sex as natural' in the early 18th century 5. Louise Parsons (Bradford and Ilkley media. represented one of a number of contending College) • The representation of desire, particu• definitions that emerged from a struggle The Blank Script: Memory, Mother and larly in the light both of feminist cri• around who had the authority to produce Daughter tiques and responses to AIDS. 4 the truth of the sexual' and what that4 truth' It is possible to argue that Sally Potter's It is intended, however, that the final would be, a struggle that led not to 4 film The Gold Diggers confronts a selection of papers will indicate the range liberation' but redefinition. This paper will fundamentally important absence in of diversity of research being carried out in examine the particular, historical LEEDS CONFERENCE

configuration of notions of 'Nature, - in particular the teaching of art history. refusal to stock, Delia Grace's book of "Liberty' and 'Sexuality' in the early 18th Since, in our experience, such concerns are lesbian erotic photography by some gay century. It will ask what it meant, politically, generally marginalized/excluded/censored and women's bookshops in London - to culturally and ideologically, to posit ksex as from the discipline unless they are brought explore both internal (lesbian and gay) natural' and will examine how such claims forward by lesbian or gay staff or students censorship and the implications of the were politically deployed. It will also (or individuals who will thereafter be incident's apparent insignificance for a analyze what was meant by 'natural sex', assumed to be lesbian or gay) the session discipline concerned with contemporary the production and naturalization of sexual will address itself to the methodological cultural developments. The relatively public norms and the regulation of sexual(ized) and personal implications of introducing distribution of a volume that ten years ago behaviour. sexual identities into an academic discipline would have been underground marks a sea- which naturalizes an implicitly heterosexual change in lesbian cultures and communities 3. Sarah Edge (University of Ulster) viewpoint. that have been split by the debate about Censorship and Freedom of Speech: some We have decided to share our time in lesbian and gay sado-masochism. Yet this questions of art history, representation and order to allow room for open discussion and has caused scarcely a ripple in mainstream interpretation to this end we will commence with a joint cultural commentary. One of the few areas, This paper will begin by investigating the introduction, followed by two related but where lesbian and gay issues have been dominant discourse of art history and the separate papers. accommodated is within Post-modernisms' artists and the projection of individuality, concern with constructed (sexual) identities. creativity and self expression within it. It a)Peter Home Homosexuality as But this perspective's apparent lack of a will examine how these feed into and Modernism s Other moral response has prompted distrust from influence broader cultural concepts of Recent cultural histories, concerned with some feminist quarters. The difficulty of individuality and a sense of 'self. the representation of modern life, have addressing the specificities of lesbian Questioning how a concept of genius works sought to relate the codes and forms of cultures with regard to diverse lesbian and within society, it will move on to examine modernism to the emergence of the new feminist moralities will be framed in relation how these discourses negotiate, the ways in urban identities in the 19th-century city. to shifting definitions of acceptability in which we view visual representations of Feminist responses have challenged the both mainstream and lesbian and gay women and how we understand their place terms of the debate, by discussing the cultures. within society. What do we mean when we gendered nature of the roles which arise in These studies will raise general questions argue for freedom of speech, and the rights these narratives. But the lesbian and the about the creation and revision of the canon, of the individual? homosexual have not featured at all centrally the personal politics at stake in such a By drawing upon theories concerning in any of these accounts (except in analyses discussion and the methodological impact the psychic and social construction of the of photography as surveillance), in spite of of asserting the centrality of such previously individual, the paper will reconstruct the the fact that they are often regarded as marginal subjects. We will address notions complex position visual imagery played in identities of a modern social construction. of censorship and permissibility within both the negotiation and organisation of sexual The aesthetic movement provided some academic disciplines and institutions and identities during the 19th century in England, men with a space, in an increasingly lesbian and gay cultures. specifically within photography and homophobic society, within which readings painting. It will establish the complexities of canonical works could be deployed in the 5. Fionna Barber (University of Ulster) surrounding concepts of individuality and active construction of a homosexual identity. Sex, Sin and Art: the politics of pleasure of looking, as well as the power What is altered by considering aestheticism fundamentalism and the control of imagery relation involved with the right to look and as a moment in the development of a gay in Northern Ireland depict. identity? How would acknowledgement of Much of the censorship debate around this disturb narratives of modernism which Ireland has of necessity focused around the 4. Reina Lewis (Freelance) and Peter seem to exclude so systematically the legislative restrictions on the media which Home (Polytechnic of East London) relations of aesthetic forms to the emergence function as a means of securing the interests Coming Out and Coming in from the of lesbian and homosexual identities? If it is of the British state in Northern Ireland. Margins of Modernity; Lesbian and Gay ignored, what absences are otherwise There are, however, further mechanisms of Sexualities and Art History inscribed within accounts of the modern? control which serve to maintain a This session will look at the various formal (protestant) Unionist political hegemony and informal means whereby lesbian and b)Reina Lewis Dis-Graceful Images: the within the province, and which tend to be gay presences and identities are rendered limits of acceptablity in lesbian culture or reliant on the rhetoric of protestant invisible within the construction of art the long arm of the law? fundamentalism. A result has been a close historical canons and critical paradigms This paper will focus on a contemporary regulation of the types of imagery which and the institutional structures of education example - the recent banning of, or may be displayed in public spaces, enacted 6 LEEDS CONFERENCE

through measures including attempts to ban frequently linked to extreme violence Cicciolina across a number of 'contexts'; representations of the male or female nude against the person. However, the same La Cicciolina as one context for the Venice from local art centres. generalisations can be made of several Biennale work and vice versa. There are This paper intends to locate such practices innovative and 'creative' strips, which set several possible lines of enquiry: in relation to a reading of the historical out to eschew virtuoso technique and to construction of imagery within some confront conventions of taste. a)How might LaCicciolina and the Biennale protestant non-conformist sects, which are This highlights just one of the many pieces negotiate the categories of art and in turn closely allied to contemporary nagging problems in reading contemporary pornography? Unionist politics. An integral feature will comics, as the defence of graphic skill and The identification of pornography also be the establishment of distinct of an implicit intellectual textuality is material (in various religious and feminist analogies with the justifications for difficult to sustain. Other issues central to critiques and in legal definitions) tends to censorship of the arts currently operative the current discourses are, inter alia, the fact rest on distinctions between the categories within the United States, thereby asserting that the majority of creators and consumers of pornography and art, or the pornographic that measures enacted in Northern Ireland (despite '70s publications like Wimmins' and the aesthetic. The definition of are not just 'a provincial problem' but have Comics) are male; sex is equated with real pornography also rests on the view of it as a clear basis in religious ideologies operative or fantasy rape and with extremes of vicarious experience, as inscription and elsewhere. physique; violence is often endemic and is therefore supplementary to 'actual' sex. glorified. Despite the fact that 'serious' The Staller/Koons partnership might 6. Mike Catto (University of Ulster) illustrators (particularly in Europe) have problematise this, most evidently as a Readings! Mis-readings in the New Comic become adept in justifying their work, there meeting of careers, but also through a and Graphic Novel are significant objections raised by several complex overlapping of private/public, Unlike their predecesors which were aimed interest groups, among them, feminist original/vicarious etc. at children, and thus had to be relatively critics. conformist in style and in subject matter, The issue is complicated when it is b)What happens when we consider Staller's many contemporary British comics, French understood that some of the criticisms from activities since her election in 1987 as BD, Japanese manga, Italian fumetti and different quarters have been based on less performance, and as context for/ North American comic books describe than full readings; eg the visuals without contextualised by her career as 'porn star' themselves as 'adult' or as 'graphic novels'. the text, or, commonly upon one single and her involvement with Koons? They are thus able to use the conventions of image or 'frame' being isolated and made Public image of La Cicciolina; tendency the drawn strip while addressing (or to stand for the whole. Divorced from the to see her as naive; British press using her as claiming to address) more mature issues. complete sequence the intended meaning is 'argument against 1C0% proportional This can sometimes mean a more politicised often distorted, the complex made seemingly representation'; in relation to her content, but in the main it appears, on the obvious, and levels such as humour and self involvement with Koons, is it useful to read surface, to mean a greater and more explicit parody are lost. In this latter category the her political/pornographic career as an use of graphic violence, particularly in work of Milo Manara will be used as an amorous discourse, or as an essay on desire relation to sex. example. and romantic love? There have been court cases and customs seizures of comic books in North America, 7. Michelle Hanning (Bristol Polytechnic) c)Finally, how would such a reading of La some of them as a result of the attempted La Cicciolina: painting, pornography and Cicciolina infect a reading of the Biennale importation of European material. This politics work? paper will thus focus on European and This paper takes as starting points the work British examples, as these are central to the of Jeff Koons/Ilona Staller (aka La 8. Sally Dawson (FAN Magazine) several debates on permissiveness and Cicciolina) exhibited at the Venice The emperor's clothes are well worn out: subversion that these works are said to Biennale, and the suggestion made by censorship and live art encourage because they are, above all, visual Andrew Renton that 'Koons' careerist We make decisions and choices based on a constructions. strategies may be perceived as performarice number of influential factors everyday. Some of these publications ( or some art on a massive scale'. Artists are not exempt from this process and examples within publications) are openly I intend to treat the verbal statements, as such consistently produce work that is pornographic in intention. This is images and career moves of Koons and the result of a series of influencing factors particularly true of many Italian and French Staller as performance. This would not entail - be they cultural, social or economic - pocket size comics. Generally, but not looking behind the performance for the they are not'free'to produce whatever they exclusively, these are crudely constructed 'real' Staller or Koons (and assessing their want. in drawing, layout and textual narrative. 'radicality' in such terms), but to shift the Live art is infamous for the use of Explicit renderings of sexual behaviour are emphasis from Koons to Staller and read La controversial imagery, ideas and content. 7 LEEDS CONFERENCE

This phenomenon will be discussed with the events in Rochdale and Orkney. Clearly problem of the portrayal of labour in particular reference to the oppositional an openness and a willingness to debate the conditions (the static object) in which argument of 'freedom of speech1 versus subject is desirable for the raising of public process is itself suppressed. More broadly, cultural responsibility. consciousness and for the future well being such discourses of labour may be related to This paper will concentrate on two of victim and perpetrator alike. Yet media the current dominance of the language of elements of this issue of live art and sensationalism, selectivity and leisure and consumption within the space censorship. Firstly, the role of the artist/ misrepresentation has resulted in an opacity of visual culture, languagues which performer in live art; investigation of the of information surrounding this distressing themselves may be said to defer the motives and methods used in live art issue. This has been parallelled by the art aspiration to the status of the object. performance particularly looking at the world's silence on the subject of child sexual reasoning behind the use of the person in abuse, and we might justifiably ask if there 1. Colin Trodd (Sunderland Polytechnic) the art work, and how that places the is a form of censorship at work here. Labour/Vision: knowledge and the audience. Students are accused of producing pieces reproduction of the body in Madox s Secondly, the content of live art - which of therapy when dealing visually with their Brawn s Work will be subject to critical analysis and own abuse, galleries are unwilling to exhibit In this paper I shall analyse three aspects of contrasted with other art forms, with work on the subject, and it is notably absent Work. Firstly, I intend to examine the way reference to the construction of meaning. from contemporary writing on art history in which vision and subjectivity are Examples of works will allow discussion and theory. presented as symbiotic processes in a of the issue of censorship in its many guises, What is present however is a tacit painting which attempts to make visual the in particular looking at the maintenance of acceptance of representations of children value of work. Knowledge of labour value an idea of history and how that can be by certain male artists, which arguably is made available to the figures of Carlyle challenged. By looking at censorship in this construct notions of children as objects of and Maurice: they 'see' the value of labour way we are able to identify and analyse the desire, and a falling back on Modernist because for them the body is productive in complexity of the issue. analysis - ie all that is important is the art - and through work. Is this, therefore, an It is not simply a matter then of who is when artists are found to have been abusers. image in which the power of work is co- literally censoring (stopping) who, and terminus with the power of vision? In this shouldn't we all be free to do as we wish - painting what does vision register and who which tends to be the Live Art 'debate' - but Subversions' Object: Discourses of has the power to exercise it and for what rather that aspects of our lives are ordered/ Labour purpose? censored/contained and understood in Conveners: Colin Trodd (Sunderland Secondly, Brown's diaries demonstrate particular and different ways depending on Polytechnic) and Paul Barlow (121, Pitville his obsessional need to confess that his acts our different histories and this issue has a Ave, Mossley Hill, Liverpool LI8 7JF) of labour lack the authority and weight of particular resonance when being dealt with 'real' work. Endlessly self-conscious about in live art. This section will involve the consideration his perceived failure to ground his work in Identification and acknowledgment of of the problems involved in the construction any pre-existent forms (be they moral, influencing factors in the construction of of discourses of labour within the history of cultural or religious), he seems condemned meaning enables live artists to challenge visual culture. It will be concerned with the to Browning's image of the modern painter notions of these histories; they are no longer development of languages within the theory as he who 'does not paint pictures and hang the spectacle to shock or bemuse the viewer and practice of art which involve the them on the walls, but rather carries them but are the performers who work with ascription of value to activity or process on the retina of his own eyes'. In short, he complex material and are reassessing our rather than to a completed object. This will writes to record his perpetual desire to values, ideas and beliefs. be seen in tandem with the problem of the declare that his artistic productions fail to At a time when live art is being promoted representation of labour itself. Thus issues occupy an authentic space in which is and acknowledged for its contribution to surrounding the 'object' of art will be seen confirmed the unity of the aesthetical and the visual arts, it is important to include it in to involve both its implied objectives and moral. Work, I shall claim, is Brown's epic the field of critical debate that recognises its status as a material object. The attempt to transcend this impasse by the need for scrutiny and analysis. development of rhetorics which operate to presenting the duty and goal of art as the grant an ethical function to4 work' will be of integrity of man. With such a project he sets 9. Josie Harrison (Cleveland College of central interest. In so far as the activity of out to unit morality and aesthetics in and Art and Design) labour is construed as the location of value, through the comprehensiveness of vision. Child Sexual Abuse: Representation and the established status of the object may be Thirdly, this returns us to Maurice and Censorship said to be undermined. Thus the extent to Carlyle, defined by Brown in the The furore caused by the Cleveland Child which such rhetorical procedures subvert supplementary text which accompanied the Abuse Crisis has been recently fuelled by themselves will be relevant, as will the painting as 'the brain workers'. The former 8 LEEDS CONFERENCE

appears to be absorbed by the spectacle of the work within its specific local and debates by recourse to Williams' assertion work which he observes; the latter turns his historical context. Conceived and produced that the production of signifying systems is head away from the scene to engage the immediately after the Luddite rising of 1812, a material and constitutive process operating attention <5f the viewer. So, we are left with the text and images constantly work to within society, how do we develop a scene of labour in which the value of convey a comforting image of a return to discourses of determination which do not, labour power is identified via the mediating order and social harmony, whilst particularly by simply alotting an a priori role to the agency of two intellectuals; it is their threatening working 'types' (particularly processes of signification and 'cognitive' and 'comprehensive' vision the cloth workers) are both stigmatized communication in the construction of our which surveys the body as a productive through Walker's verbal and visual society, crudely inverse the architectural object. Vision, or at least the visualizing representations, and yet at the same time nature of Marx's 'base and superstructure' processes of these two Victorian sages, emasculated through pictorial devices and metaphor. holds together the image of work as an through recourse of reassuring economic Finally, open questions must be asked image of social integrity. Are we therefore and moralizing discourse which actively about the influence of those 'Modernist' presented with an image in which directs the viewer's reading of the images. and 'Postmodernist' debates which have productivity is articulated as the locus of Labour is represented in terms of visual sought to identify themselves in opposition community because vision is taken to be appearance - costume, local custom and to a relatively unproblematic view of unproblematic? If so, how do we reconcile traditions, figures in landscape - whilst 'Marxism' as either a coercive and this with Carlyle's own writings on this working processes are described in oppressive monolith, running counter to subject? He affirmed that modern art was functional, regulated terms as contributing the Western ideal of 'creative plagued by the' peculiar problem of optics': to the maintenance of a stable social and individualism', or as a mere example of that there could be no comprehensiveness economic order. Costume of Yorkshire can another redundant 19th-century 'Master- of vision because there was no eternal, be seen therefore as both recording and narrative'. transcendent 'fac-simile' by which the artist assisting in a general process of class could structure his work; and that because formation and social division at a time of 4. Tim Barringer (University of Sussex) there was no original moment of purity or increasing rationalization of labour "Beading the brow of lusty manhood" : plenitude to which the creative process processes, and of a consequent masculinities, religion and labour in Ford referred, all art was a mirror absorbed by reinforcement of a classed society. Madox Brown's Work mirrors. Throughout an extensive historiography, 3. John Byrne (Liverpool Polytechnic) discussions of Ford Madox Browns's Work 2. Roger Young (University of Leeds) Cultural Materialism: determinations' have adhered to the agenda of social concern Dressed to Kill? The representation and subversion which dominates the artist's 1865 catalogue negotiation of class difference and social This paper hopes to assess the critical value text, thus closing off the available range of unrest in George Walker s 'Costume of of Raymond Williams' proposal for a meanings of this rhetorically sophisticated Yorkshire' 'cultural materialism' - an argument for a image. This paper aims to restore to the George Walker's Costume of Yorkshire recognition of the material and constitutive discussion the key problematics of gender (1814), though little known in its textual role played by the practice and development and religion, both central to the mid- format, has nevertheless served as a source of manifest signifying systems within our Victorian discourse of work, within which of illustrations for numerous other texts in society - as a means by which to subvert Work constitutes an important intervention. various disciplines from social history, more traditional 'marxist' identifications Using a complex visual language, Madox economic history, art history to the history of cultural production as somehow Brown's image asserts a powerful of costume, most notably providing the contingent upon an economic base. Such an identification between masculinity and work cover illustration for the current Penguin inquiry offers, I believe, a way of extending in the public sphere. In this cultural edition of E P Thompson's The Making of our debate into three overlapping theoretical construction, the corollary of "domestic the English Working Class. Consisting of areas concerning representations of labour. ideology" in which the home and non-work 40 plates with accompanying explanatory , Firstly, if we are to avoid merely, was designated the sphere of respectable texts, its explicit aim was 'to illustrate., the addressing questions concerning the femininity, involvement in work was seen variety and peculiarity of manners and dress' representation of labour to an already secure as constitutive and demonstrative of or the' immense population... of the County ideology of art, we must identify those masculinity. Characteristics associated in of York'. However, what emerges from a discourses which have, as a result of isolating mid-Victorian culture with the gendered consideration of the curiously ambivalent practices of visual signification for the male body became potent signs of work status of the work, and of the disparities in purpose of analysis, accorded theoretical itself. Although consonant with the representation of the various working types primacy to either the work of art itself or the traditions of history painting, the use of the depicted, is the existence of a hidden agenda social conditions of its production. heroic male body as a metaphor for labour which can be made explicit through situating Secondly, if we intend to subvert these creates tensions owing to Brown's LEEDS CONFERENCE

adherence to a controlling realist fiction, 1. Malcolm Barnard (Derbyshire College distinction between the claims of a notably challenging the capacity of the visual of Higher Education) description of art's role as Simulation versus image to represent mental as well as manual 'Post-Criticism' on the EDGE: "Speak" Spectacle within these concepts of the social labour. when you re Spoken To domain. The implications of the two Religious ideas underlying the conjoining This paper will introduce the session as a positions for the possibility of a political of masculinity and work in Brown's image whole, exploring the evident fissures intervention produced in the realm of art or emerge fron consideration of the between intention and outcome, legibility by its instrumental effectiveness is what is intertextuality linking Work with and its inverse, fidelity and loss within the at stake in this discussion. Works of Peter contemporary writings by Thomas Carlyle, realm(s) of "art", culture and academic Halley, Hans Haacke, Judith Barry, Richard John Ruskin and others. Propounding an discourse. Of special concern will be the Prince, Krzysztof Wodiczko etc will provide expressive theory of work as a religiously issue of propriety regarding matters of instances for examination. sanctioned process, motivated by duty and cultural selection, interpretation, judgement the urge for self-expression, these texts and valuation. The paper will exhibit the 3. Nora Donnelly (University of Ulster) present not only significantly similar evident aporia of coming to a conclusion Art, What Good Is It?: deconstructing the ideological and theological positions, but about a subject/non-subject which has not rationale for art in the school curriculum also parallel rhetorical strategies and yet been broached, or perhaps been This paper begins by asking why Art is techniques to those employed by Madox improperly broached within another session spuriously obliged to justify its own value Brown in Work. with a different name. Or not, as the case and its existence in Educational Curricula may be, depending on time and beings. and goes on to acknowledge that it does. The paper then takes a hop, skip and jump Deconstruction: art and propriety 2. Johanna Drucker (Columbia through the thinking of a number of Convener: M Barnard (Derbyshire College University) influential philosophers, aestheticians and of Higher Education) Simulation and Spectacle in relation to educational theorists (irreverentially called Propriation: art and aesthetics in the social the 4Art is Good for You' School) listing '... it is [propriation] that organised both the domain and discussing briefly a variety of benefits totality of language's process and symbolic The notions of simulation and spectacle they identify with the Art Experience. exchange in general.' depend upon conceptually distinct Having established what would appear Derrida, Spurs/Eperons, pp. 110-111 formulations of the social domain. In the to be a water-tight case for the value of art Baudrillardian concept of simulation the in education, the paper then deconstructs it, Any aspect of the relation between already extant totality of the social order pointing out that however holy and deconstruction, art and propriety could be prevents the possibility of importation (or wholesome, however valid these claims for dealt with: adopting a tactic from an appropriation into). There is an extant unity art may be, they cannot be pressed into N undecided closet-Heideggerian, the session in which each element contributes to the service to provide a rationale for art would rule nothing in and rule nothing out. continual reflection, reproduction in image, education - as to do so is to confuse the Topics could range from the physical to in constant reification and repetition, ("re" reasons for teaching art with the [possible] the all-too-metaphysical: the body, is the operative prefix, as in return, the results of making or receiving art. (ownness and identity), art as property, continual re-cycling into, back, upon in a It concludes by stating that one teaches something owned, (philosophical and huis clos of endless difference which does art, not for what it is good for, but because financial speculation in art), propriety in not have a referent or any possibility of it is, in itself, good. art, (decorousness, obscenity, plagiarism, closing the cycle of play). In the DeBordian forgery, post-modernism), art being notion of spectacle there exists the colonised, appropriated by deconstruction, possibility of a genuine difference to signal Television and Video (being taken over in its own place), critical the dis-unity of forces within the social Convener: Jonathan Bignell (University of responses to deconstruction in/of art, (if order. In such a system a possibility of Reading) deconstruction says that everything is art, resistance exists which is not defined including itself, and vice versa, are we oppositionally, but through a slippage, a Papers in this session will address issues of witnessing the return, eternal or otherwise, disjuncture between image and object, subversion in broadcast television and in of Dada?), appropriate responses to such signification and referent, signifier and the video rental sector. The majority of appropriation, (the question of styles and signified, which inscribes difference as a papers will develop their argument by close strategies), proper, authentic art consists site of intervention, political and aesthetic. discussion of particular programmes, and in), the consequences and responses to such Defining aesthetics as the negotiation of speakers will make use of videotaped propriation, how these topics relate to the boundaries and art as the reification through excerpts in order to illustrate their material. process that Derrida claims is 'more form permits a discussion of both practices The papers in the session range from powerful' than the question of Being. (art and aesthetics) as they cut across the discussions of individual programmes, to 10 LEEDS CONFERENCE

genres of television, and from national meaning of images. organisation of point-of-view. Indeed, the broadcasting institutions, to very particular attempted 'openness' of these texts is often audiences and their use of video technology. The papers in this session could then be misunderstood and they tend to be accused Mike Stevenson's paper considers grouped in a variety of ways, and address of being propagandist in their subversive documentary as a television genre, and by the TV and video media from several project. discussing a range of examples, elaborates different angles and with different objects the potential form subversion it offers in in view. I hope that this multiplicity will 2. Dr Colin Counsell (Polytechnic of form and in content. Colin Counsell's paper give rise to a multiplicity of points of access North London) focuses on the fictional genre of television and interest. Performance Modes in Television Drama drama, and concentrates on performance. 1. Mike Stevenson (University of Since the 'Golden Age' of the 'Sixties, The critical issue of the representation of Reading) acting in British television drama has been the individual subject is addressed by Documentary on Television dominated by Stanislavski's 'System', a showing how two influential theories of Documentary never reaches the audience performance-mode based upon a notion of acting give rise to quite different size of the more popular forms of television. the psyche as integrated and bounded and performance modes, and thus quite different Yet its daily presence, oddly reaching a ultimately essentialist. The System's self- * ideological stakes in British television peak on Sundays, makes up for this through proclaimed achievement is the expression drama. a range of challenges to theoretically more of psychological and experimental detail. Tom Cheeseman's paper on a differentiated audiences. Although But beyond this, each Stanislavskian 'propaganda' video about German supposedly transparent as a form, occupying performance text stands as a strident unification shows how an event of historic a representational space somewhere signification of the fact of the humanist importance and international significance between news and fiction, in fact psyche. It is this image of the subject that is represented for a German TV audience. documentary is probably best seen as a has dominated British screen acting. By examining the legacy of political hybrid practice in constant flux and one that Now, however, a new praxis of representations in German film, his paper is much greater than for other TV genres. naturalistic performance is hitting British locates this contemporary event in a history There is, however, a dominant formal screens. The radical reworking of of uses of visual narrative which seek to pattern, clearly not particularly subversive, Stanislavski's theories by American pre-empt subversive readings. Marie perhaps best exemplified by the omnipresent practitioner Lee Strasberg has substituted a Gillespie' s paper uses ethnographic research Nature documentary which operates so often different model of the psyche. Gone is the methods and data to examine one very to reaffirm 'natural' cycles of life which polished integument of the Self and we are particular audience sector - Punjabi youth give audiences a sense of a 'completed' treated instead to a spectacle of rupture and in London - and its use of videorental films. knowledge of a subject. neurosis. Rather than discussing the video narratives In opposition to this major form is a Such 'Method' performances have long themselves, she concentrates on the place range of more subversive types of been popular in America but now they are of video in one subcultural context. documentary. Most explicitly so, are those crossing the Atlantic to shape the styles of Two further papers in the session texts which directly challenge the interests British television actors. Using examples concentrate on institutions and their of the State, such as Death on the Rock. This from British television dramas, the paper relationship to subversive practices. Esiaba type does not usually need to use any will examine the new model of the psyche Irobi's paper on the BBC and independent innovation at the level of form, the content offered and the consequences of this change. programme-makers contrasts a hegemonic being trouble enough. A second type of BBC discourse about nation, race and colour subversion is slightly more exploratory in 3. Jonathan Bignell (University of with a variety of television programmes by terms of form, often using a range of verite Reading) independent producers which seek to or candid material, for example Nick Judging the Unspeakable: the censorship disturb, reorient or question dominant forms Broomfield's Juvenile Liaison. Most of images in television and video of representation. The tension between the unusual and potentially the most subversive The paper discusses discourses around reflection and the creation of cultural are documentaries that wholeheartedly censorship in broadcast television and in meanings is central to this paper. My own problematize form and thus attempt to rental videotape. By examining the language paper on censorship in TV and video enable the spectator to 'read' the issues in a used by institutions such as the BBC, the explores a variety of discourses about radically different way, for example John Broadcasting Standards Council and the disturbing images. The authorities which Akomfrah's Handsworth Songs. Such British Board of Film Classification, the judge TV and video, and regulate these documentaries tend to mix both their generic paper explores the criteria of judgement images by laws, are shown to operate on means and defamiliarise narrative applied to images in these media, and relates very different and conflicting assumptions organisation. Celebrated as radical texts, these criteria to assumptions about about meaning, effects, and taste. the question remains as to their effectiveness audiences, genres, and public taste. Censorship itself is thus subversive of the and doubt often arises in relation to their The aim of the paper is to show that 11 LEEDS CONFERENCE

judgements about the effects of watching in fact draw on national traditions, viewing and talking about popular Hindi particular images are based on readings of representing the emergence of a new films on video is a routine form of the meaning of images. By exposing Germany in a way which is intended to entertainment and pleasure for many. In the contradictions in the ways that censoring undercut and silence a number of alternative domestic context, however, parents use the authorities read meanings, the paper shows views and visions: those of opponents of viewing situation to encourage adherence that any censoring law must enact a unification in the first place, and those of to Indian cultural values and 'traditions' necessary violence upon the image and the anyone with less than sanguine notions of a and to counterbalance the influence of text of which it is a part. This violence united Germany's likely internal problems Western media on their children. A extends also to the audience constituencies and external relations. In the film's historical distinctive pattern of response among young which are being 'protected' by the law. context, all internal opposition to the process people is to subvert their parents' attempts Finally, the paper discusses a technological of unification (represented by the film as to 'transmit' cultural traditions by rejecting apparatus for 'screening out' violent or inevitable, in the image of a train powering the films while, at the same time, re• erotic images from satellite broadcast down the tracks) was radically subversive. inventing and re-creating some of the television which was offered by British The film acknowledges the threat of such 'traditions' with an eye, not to the past, but Satellite Broadcasting, and considers the alternative discourses implicitly, by its very to the future. implications of a system of judgement and existence, and subverts them in turn by interpretation which is electronic, automatic, addressing them only obliquely. 6. Esiaba Irobi (School of English, but in the immediate control of the home University of Leeds) TV viewer. 5. Marie Gillespie (Brunei University) The British Blackmailing Corporation The paper compares and contrasts criteria Cultural Minorities and Video Use: In his book, Amusing Ourselves to Death, for judgement in various broadcasting resistance through measure Neil Postman argues that the concept of institutions and legislative bodies, and Video technology has enabled cultural truth is intimately linked to the biases of demonstrates the necessity of judging minorities across Europe to view popular forms of expression. Truth, he informs us, images, and at the same time the forms of entertainment and information does not, and has never come unadorned.' It impossibility of judging 'correctly' about from their countries of origin. Lively video must appear in its proper clothing or it is not the meaning of visual texts. cultures have arisen in, for example, acknowledged, which is a way of saying Chinese, Turkish, and Indian that the' truth' is a kind of cultural prejudice'. 4. Dr Tom Cheeseman (University neighbourhoods which have allowed In Britain, a post-industrial society with a College Swansea) families to maintain cultural ties with their television-based epistemology, the media West German Government Propaganda for respective countries. These local video does not only manipulate the truth but often Unification - a CDU Film of July 1990: cultures, to members of the communities manufactures it. The British Broadcasting official subversion of radical discourses concerned, are seen to subvert existing Corporation, for example, uses subversive Germany has a rich political film national broadcasting structures and to models and a monochromatic imagination propaganda tradition, dating back to the provide points of resistance to tjie to frame issues of colour and culture. nationalisation of the cinema industry in dominance of western media mdre Using programmes like Julian Pettifier's 1917 under military control, and continuing generally. 'Missionaries', John Pilger's 'Cambodia', through left and right-wing attempts to win While the transnational communications Melvyn Bragg's 'The South Bank Show', over the masses in the Weimar Republic, to system also tends to disrupt existing forms ITV's 'The Human Factor' and Channel the perfection of both explicit and subliminal of national identification, the circulation of Four's 'Critical Eye', this paper examines propaganda by Goebbels; but also beyond ethnically specific information and the challenges that independent television that, in the 're-educational' uses of film by entertainment on video serves to construct producers and companies face as they the occupying forces in both zones after the and maintain cross-national 'symbolic attempt to decode and deconstruct the BBC's war, and later American-produced films networks' among geographicaly dispersed mispresentation of other peoples, races, extolling the virtues of capitalism and peoples who might otherwise lose ties with continents, nations and worldviews to vilifying communism, in the Cold War era. 'tradition' and its active perpetuation. Thus, British viewers. It thus, addresses the Most of the filmic techniques developed social groups inside and between nations questions: 'What is television? What kinds by these various precursors are applied in a seem to have found informal ways of of conversation does it permit? What are 3-minute video Deutschland wird eins, negotiating and constructing their own the intellectual tendencies it encourages? made for national and global TV collective identities within the boundaries What sort of culture does it produce?' dissemination by Kohl's party, the CDU, in of the system that limits and binds us all. Th9e paper also illustrates how the history, 1990 but not shown in the UK. Looking by This paper will address the contradictory political organization and class structure of turns like a rock music video and like a nature of these subversive tendencies the British nation affects not only the staffing building society advertisement, its through an ethnographic case study of a and administration of the British iconography and filmic and textual rhetoric London Punjabi video culture in which Broadcasting Corporation but also shapes 12 her broadcasting policies and the ingenious fallacious, but deflective and oppressive. forms just as much as its 'high' cultural techniques through which she subverts They seem to have diverted attention away forms - to particular sites within the social information covertly in order to maintain from the specifics of indigenous socio• formation, this paper will analyse the her image as the 'auntie' of the nation. political conditions and undermined the specific interrelations between the reception Actual examples of 'scratching spacio-temporal significance of local of Rima as a cultural artefact and the information', supressing news unfavourable cultures. changing politics of imperialism during the to the image of the government, distorting This session invites papers which inter-war period. What meanings were or muting part of a speaker's speech, editing examine such a nexus between produced when an explicity 'primitive' out the most poignant portions of a news 'Modernisms' and local cultures, including public memorial was unveiled at the centre clip, and branding negative impressions of the problematic issues which such of Empire, particularly within a space given other races, subliminally, into children's requestioning raises. These will address the over to a celebration of nature with its then minds through cartoons will be highlighted. historical and epistemological assumptions attendant connotations of the 'English' In essence, the paper explores the ecology upon which frameworks for the construction countryside, at a moment when ideologies of television as a technology. How this of 'Modernisms' and the 'Other' are around national identity and colonialism technology, since it employs particular predicated. were so extensively redefined? technical and symbolic codes, mutates into medium, and how, as it finds its place in a 1. Rod Brookes (Norfolk Institute of Art 2. Petrine Archer-Straw (Courtauld particular social setting, insinuates itself and Design, Norwich) Institute of Art, London) into the dominant economic and political The meanings of Epstein's Rima: avant- 'Primitivism' and the 'Primitivised': context of the time and thus attracts garde 'primitivism', popular culture and approaches to the phenomenon of alternative mechanics of disinformation. colonial politics in the 1920s lNegrophilia in Paris in the 1920s To put it succinctly, does television shape The unveiling of Epstein's Rima in Hyde The paper will seek to examine the terms or reflect culture? and does this culture Park in 1925 generated an explosion of 'primitivism' and 'primitive' and their include the culture of the criticism of coverage in the newspaper and periodical function as dynamic labels of 'otherness'. television itself? press which for an art-related event was Provocatively, the concepts of 'primitivism' arguably unequalled in the inter-war period. will be explored from an 'other' perspective Central to this criticism were the 'primitive' setting up ironies regarding 'primitivisms' Cultural Colonisation: 'Modernisms' formal characteristics of the relief, and this more fictional aspects and the language and the Construction of the 'Other' had become crucial to the later construction which has been employed to maintain its Conveners: Fay Brauer (College of Fine of Epstein's carved sculpture in modernist myths. Advocating the use of neologisms Arts, University of New South Wales) and (and some anti-modernist) art history and will be an important and creative aspect of Andrew Stephenson (Oxford Polytechnic) criticism. In these accounts, the perceived this paper's revisionist methodology in an inability to appreciate the significance of attempt to maintain 'fair play' when The colonising impact of 'Modernist' the 'primitive' elements of his work by both examining the phenomenon of 'negrophilia5 cultures may be regarded as hand-in-glove the ' philistine' bourgeois press and the in Paris in the 1920s. This position will with those critical discourses and art 'debased' popular newspapers alike has challenge art history's more usual voice histories, which have legitimated the supra- been used extensively to validate Epstein as which until only recently, under the guise nationalist formation of' Modernism'. Local an avant-garde artist, misunderstood by all of objectivity, has been bound up with a cultures appear to have been caught out in but a select group of enlightened critics. pejorative western colonial discourse. As two ways. On the one hand, the Through this paradigm - and"backed up by such it has been a verbal and visual tool of 'international' incursion of 'Modernist' statements of the artist's own intentions - hegemonic rule. Only by suggesting a cultures has lead to the displacement and art historical approaches have severely skewering of certain cultural perspectives erosion of local cultures. On the other, proscribed legitimate interpretations of can an approach to 'negrophilia' be fruitful orthodox histories of 'Modernism', in Epstein's sculpture to those primarily and only by a critical appraisal and tandem with formalist discourses, have led concerned with aesthetics. subversion of certain language forms can to their devaluation and entrenchment as Yet at the same time as Epstein produced one begin to appraise and articulate this 'Other'. a sculpture widely interpreted as a critique 'other' narrative in any real way. The progressive, supra-national, Utopian of the European post-renaissance By establishng 'primitivism' and its characterization of 'Modernism' seems to monument, ideologies around the Empire 'other' as equally fallacious this paper will have underpinned the emergence, of were being actively contested and reworked negate the notion of 'writing back'. The hierarchical distinctions between within the dominant classes in the context apologists position was one which was 'Modernist' and other forms of cultural of what was perceived as the threat of its fulfilled admirably by the writers of production. The mechanisms for these disintegration. By mapping the critical 'negritude' in the 1950s. However, the distinctions may be identified not just as discourse on Rima - in its popular cultural concept of' writing back' in this sense merely 13 LEEDS CONFERENCE

served to make the eurocentric division of of aesthetic quality as a form of medium (or unto itself, with a distinct cultural and *us and them' more feasible. commodity) refinement. All of these linguistic tradition and a vehement sense of By placing itself outside of the pale of underlying premises are also preconditions territoriality. formal/rational academicism this paper will for both capitalist modernization and or In attempting to spatialize the cultural self consciously exploit the fictions of Western positivism (indeed, Greenberg narrative that has emerged around the work, discourse and it too will enjoy a certain wrote in the 1950s that modernist art has life and death of Ana Mendieta, I am freedom of expression. Recourse to always 'spoken for positivism'). As such, claiming that these have been constructed invention will be paralleled by dipping into this above conceptual framework, with all out of a set of territorial imperatives which interdisciplinary discourse for 'fleshing out' of its attendant contradictions, helps us to continue to privilege a Eurocentric, urban essentials; thus militating against the narrow explain Greenberg's unlikely and commodity oriented artistic culture specialisation which has characterised art transformation from quasi-Trotskyist to whose centre it is claimed is the New York historical studies in the past. card-carrying McCarthyist to the lofty art world. Mendieta herself, Cuban, female, partisan of canonical Western values that a conceptual artist working in 3. David Craven (Cuny Courtland, New he has since become. geographically peripheral areas, not only York) Thus, my paper will be divided into two rejected such centrist organising principles Clement Greenberg and the 'Triumph' of sections, in order for me to explicate more but sought to replace them with alternative Western Art stringently Greenberg's unabashedly geographies, one/which brought together A few years ago, Clement Greenberg stated ethnocentric theory of modernism. In the natural topographies with the landscape of that Western civilization is the only 'high first part, I shall examine Greenberg's a female body imposed, inserted and cast urban culture' that is 'still quite alive' and particular version of epistemological upon them. The folkloric location by the developing in a salutary way. Conversely, 'realism' along with its consequent claim to press of her work and her life has served to he maintained that 'all the non-Western 'objectivity' in matters of taste. Then, in characterise it in a particular way, one urban cultures seem long decayed when part two, I shall discuss Greenberg's Cold reserved for the defiant outsider. By not, as in most cases, altogther dead and War politics from 1945 onward, which invoking the concept of geography, of what gone'. While making light of the view that emerged during a period of unprecedented Edward Soja terms "the politicised spatiality Western imperialism could have been US 'aid' and intervention in the internal of social life" I am attempting to reframe, or responsible for the fact that Western culture affairs of non-Western countries around the relocate it within a cultural sphere which is 'threatens to dominate everywhere,' globe. All of this material should concentric and multicultural rather that Greenberg contended instead that the demonstrate that Greenberg's Eurocentric, centrist and hierarchical. This discussion is growing hegemony of Western art and pro-US reading of modernism has been a a Semiotic attempt to deconstruct the culture over the last century has simply constant attribute of his criticism since the assumed relations between geographies and resulted from the unrivalled vitality of 'pure' 1930s and has sanctioned the cultural identities within the post colonial world. Western art - an art that has evolved subordination of all non-Western art. Instead of geography I would like to posit a 'according to its own inner logic, its set of linked categories formulated through the discourses of race, gender and site (which entelechy, uninfluenced at bottom by events 4. Irit Rogoff (University of California, is critical and contingent as opposed to the at large.' Consequently, Greenberg Davis) fixed and naturalised concept of geography). expressed concern over the evident decline In the Empire of the Object: the geographies It is only by attempting to undo such specific of Western art, whose ongoing vitality he of Ana Mendieta location that we can begin the process of sees as humanity's only hope, 'given that ' Mysterious death in the art world' screamed high art lives only on Western terms.' critically interrogating the terms which the headline of a recent book review. The attribute value and prominence to cultural Far from being at odds with Greenberg's book itself is circulating under a similarly products. triumphalist position on behalf of Abstract sensational title; "Naked by the Window - Expressionism (which he preferred to call The Fatal Marriage of Carl Andre and Ana 'American-Type Painting'), the above Mendieta". From these articles and many 5. Pam Meecham (Liverpool Polytechnic) assessment of art from the West is an obvious others which have, over the past five years 'Audience' andTheTate Gallery, Liverpool corollary to how he consistently and quite attempted to deal with the unclear The paper will debate theoretical issues implausibly denied the non-Western and circumstances of Ana Mendieta's death in surrounding the construction of the 'other' popular cultural contributions to modernism 1985, it would seem that both her life and - Audience and Tate Gallery Liverpool. in general and to Abstract Expressionism in her death have somehow been contained The paper will be concerned with the particular. Greenberg's. narrowly within a very particular geographical "discourse of others". circumscribed concept of modernism was location, that of the art world. While the art (a)the setting up and subsequent from the beginning based on an evolutionist world cannot claim for itself a fixeql and establishment of the Tate Gallery, notion of historical change, a linear concept concrete location, a mapped terrain with Liverpool; announced 'Tate in the North' of cultural progress, and a technocratic view distinct boundaries, it is nevertheless a world 1986, opened 24 May 1988. The project 14 LEEDS CONFERENCE

was funded through Merseryside 10. Paul Carter (University of Melbourne) education should be approached right now. Development Corporation. Raymond Trading in Signs: the dynamics of first In this paper I will propose that we as William's work on democratic contact designers (especially those of us in third involvement and participatory world countries, but not uniquely) should democracy may be releveant here as apply our ingenuity and skill to design well as debate surrounding QUANGO Can Design be Subversive? systems that aid shanty-town dwellers. This administered informality, Convener: Lucy Forsyth (Teesside is my brand of subversive design. (b)through the establishment of the Tate Polytechnic) Liverpool debate issues surrounding 2. Sylvia Libedinsky (Freelance designer, audience as 'other'. In particular to Is it more problematic or is it easier for London) establish issues surrounding the selection ' design' to be subversive, compared to' art' ? Design and Subversion and presentation of works to an audience Does 'design' always have to be 'problem- It is difficult to see an artefact isolated from denied access to the means of solving' and 'utility-oriented', and done by the culture which produced it. Is it possible representation but perceived as a professionals, or is there a space between or to find beauty in gas chambers (which were 'suitable' audience for 'attitudial within the avant-garde and a popular culture designed by architects), in instruments of change'. Access is allowed within a where subversion can take place? What torture, in any instruments which are at the perceived 'post-modern' aesthetic. about the role of the market in all this - service of destruction, pollution and so on. Audience is often, though not entirely, does a modernised capitalism always have It is difficult to isolate an artefact from its the recipient of received wisdom, the ability to 'recuperate' and incorporate culture, but it is not impossible. Some of us accessing taste not knowledge. its rebels and critics and market their do it constantly in cars - bombers, tanks Assumptions/value judgements will be products? What do we mean by subversion might arouse our admiration. If the aspect debated. anyway? Does the political economy of of this culture which the artefact 'problem- I hope to establish current policy and capitalism subvert the neutrality of 'design' solves' is perceived by the designer to be a practice towards Tate audiences. (I do not as an activity, for its own ends? bad one or one which ought to be altered, see this as a parochial issue, just a case This session will consist of contributions can it still make a good design? Does it call study of wider issues) The theoretical by practising designers, from both Europe for subversive design? What about design underpinning will be Raymond Williams, and South America, as well as from design which does not solve any problem? Is it still Foucault and J F Lyotard, La Condition historians and cultural theorists. design, or just a 'statement'? I shall be Post-Moderne. exploring some of these issues in my work. 1. Carlos Libedinsky (Designer and 6. Fay Brauer (University of New South Researcher, Dept. of Postgraduate Research, 3. Leonard Rau (Postgraduate researcher, Wales, College of Fine Arts) Faculty of Architecture and Urbanism, London) 'L'Etat des Beaux Arts et I'etranger': University of Buenos Aires, Argentina) Customising the Car: a case study - the 'Modernisme' and xenophobia in Paris Give Me Your Refuse Ford Escort before the Great War Design is generally understood as being a In 1968 the Ford Escort was launched onto problem-solving activity. My question is the British market. Since its introduction 7. Keith Robinson (Norfolk College of 'Whose problems?'. Some would answer- over seven million Escorts have been sold Art and Design, Norwich) the market and its forces, the economy, the in the United Kingdom alone. Ford appeared Surrealist Imagery of Mexico people, industry; my answer is - above to want to produce a cost efficient vehicle, anything else - the homeless, cities and the Escort was the solution, being available 8. Donal Fitzpatrick (Dept of Visual and their survival. in four basic body styles with four main Performing Arts, University of Western We know who have been the patrons of engine types, it suited many consumers' Sydney) design until now, you only have to open the desires. During the last 23 years the Escort 'The Boiled Chicken and the Ventriloquist': pages of Domus, Bluprint, Design Weekly has experienced five major body and The emergence of modernity and 'other' to find out. 'Social concern', where it mechanical face lifts. modernisms in post-colonialist Vietnam, appears, seems to be just another factor in The success of the Ford Escort must be Indonesia and Australia the design brief along with colour, related to other trends in the automotive proportion and marketing methods. market during this period. The development 9. Candice Bruce and Anita Calloway In my own work I am trying to prove that of other ranges of small cars (such as the (Power Institute of Fine Arts, University of solving the problems of the homeless, or Ford Fiesta, Alfa Sud and VW Golf), the Sydney) processing rubbish so that it can be re-used, influence of branding (RS group and the 'Dancing in the Dark': Black Corroboree are not just 'design briefs' or 'marketing- XR3) and the emergence of the 'hot hatch or White Spectacle? related operations' but the very essence of back' (the 'GTI'). the way' in which design and design The main aim of my research is concerned 15 LEEDS CONFERENCE

with the development and image of the radical, dynamic interlocutor - actively production was San Antonio. It is at this 'Mark T and 'Mark' 4 Ford Escort. I have manipulating values and redefining context point that horn furniture become trophies of been looking at the reasons for the and content. In a fundamental and overriding territorialism. personalisation and customisation of the sense the new Dutch jewellery was It also represents a shift from the basic Escort, outlining the effect of peer subversive in both nature and intent. functional to the ornamental, from one type pressure, media and press typecasting on of use - real to another - image use/abuse. Ford Escort owners and drivers. The 5. Lee Wright (University of Ulster) By the 1890s the furniture entered the research has been concentrated into three Transforming Waste Materials and the Non- domain of the Ranch house and Ranch main areas: the past, the present and the Transference of Taste: cattle horn furniture owner and was no longer the sole possession future of the Ford Escort. of Texas, USA of cowboys. The use of the material The Frontier was pushed further West as belonged to the employer and the employee, 4. Judith Aston the second wave of colonisation spread in but the style distinguished the difference Design and Subversion: a case study - nineteenth century North America. between the two. What had originally Dutch avant-garde jewellery design in the Geographical isolation and self-sufficiency symbolised harmony with nature now 1960s and 1970s were the trade-marks of the settlements of represented prowess and landscape Dutch jewellery design in the 1960s and the south west states, and culturally- ownership. The combination of regionalism 1970s marks a radical departure in the detached communities transformed the and the notion of the organic produced a history and nature of jewellery. It defied the Texan landscape of the 1850s. One writer geographically-limited object which traditional definitions of jewellery and its described it as ' An heroic thrust past the challenged (and challenges) inter-cultural role, and asserted new parameters in the security of the known and the established'. and mass-cultural aesthetic knowledges. concept of jewellery design, making and The introduction of the longhom breed wearing. of cattle to the State of Texas created a 6. Shelagh Wilson For the Dutch jewellery of the '60s and viable and lucrative ranching industry and Whose taste? '70s was both jewellery and not jewellery: made a legend of the white American West. This paper looks at subversion on a massive in terms of its form, such as van Leersum A new language of 'cow towns',4cow boys', scale, not the elaborate post-modern jokes and Bakker's enormous aluminium collars 'trail riders' and 'bunk houses' emerged. or the pin-prick of punk but the way that the - which took the jewel as ornament well Cow culture pervaded all aspects of establishment elite seizes on 'design' as a outside the conventional parameter of body cattleranching lifestyle, and furniture made way of perpetrating their own canons of decoration, and as such, presented an from horn was part of this. A combination taste, regardless of the damage thus inflicted inherent contradiction in the object: in terms of utilitarian needs and environmental on designers, manufacturers and the of its materials - the use of non-precious considerations were the basis for this unusual country's economy. plastics and industrial materials such as style of furniture, and in a wider context, the This paper argues that the manipulation steel and aluminium - which subverted style can be placed within a discourse of of design, recently seen under Margaret messages of social status, value, worth; and rusticity and the relationship between human Thatcher, has its roots back in the 19th in the subversion of defined categories and need and the environment. century. The Arts and Crafts Movement has contexts in the surreal use of materials and Cattlehorn was a waste material of the often been singled out for its backward and forms totally outside their conventional ranching industry and, for cowboys, an anti-machine doctrines which are imagined context, such as industrial stove pipe, easily available substance. Initially, horns to have crippled British Design throughout shower-hose and commercial scouring pad were used as basic pieces of bunk-house the 20th century. This paper, by studying as legitimate material or Nierhoster's furniture such as clothes hangers. However contemporary accounts of taste in the British zippered eye brooch as valid image. other examples demonstrate that a range of jewellery industry, argues that from the The new Dutch jewellery was design products developed where a 'construction' early 19th century onwards, an increasing conscious and centred. It rejected (or 'designing') process intervened, and polarisation occurred between what the completely all traditional associations with converted the found objects into elitist arbiters of good taste judged as good form, material and methods of production. recognisable furniture forms such as chairs design and what the public demanded and It actively antagonised values espoused by and table lamps. Cattlehorn (particularly bought. The seeds of decline of markets to traditional jewellery. It was conceived Longhorn) became a symbol of the mail the French, Americans and Germans were deliberately to exceed the limits of pioneer spirit, and horn furniture an emblem already well sown before the emergence of acceptability, representing provocation and of tough manual labour. The low-tech the Arts and Crafts Movement. Members of demanding reaction. The design and its furniture was further transformed by a this loose-knit group, many of whom concept lay at the heart of the subversion of 'sophistication' process in,the 1870s and imagined they were part of a major reform the traditional jewel, passively expressing a 1880s when chairs in particular became in design in fact perpetrated yet another limited range of conservative cultural ornate throne-like structures which required elitist canon of taste. This was as statements, and its transformation into a craft skills. The centre for this type of dangerously out of touch with actual demand 16 LEEDS CONFERENCE

as that of the original design reformers, and the use of 'authentic' bondage garments in 1. Catherine Lupton (Leeds Polytechnic) worse, encouraged the cult of the hand• the late 1970s to the subversion of the If you're not invited to the dinner party, made which had bedevilled British design design medium through radical 'cut' in her where do you sit? Feminism and the social and manufacturing throughout the 20th construction of clothes in the early 1990s. It history of art century. discusses the contradiction inherent in 'It ought to be clear by now that I'm designs which appeal to the popular not interested in the social history of 7. Teal Triggs (Ravensbourne College of imagination of the 1990s and yet derive art as part of a cheerful diversification Design and Communication) from pre-20th century art and design. of the subject, taking its place Commodification of the Banal? Westwood's clothes as 'couture' production alongside other varieties - formalist, In recent years the work of several graphic defy the mass market and despite the stated "modernist", sub-Freudian, filmic, designers has achieved status as formal art. intention they inspire street 'DIY', which feminist, "radical", all of them hot• This is evident both in the increasing number militated against the expansion in packaged foot in pursuit of the New. For of exhibitions in conventional fine art venues design retail of the mid-1980s. Vivienne diversification, read disintegration.' and in the enhanced artistic recognition of Westwood' s clothes represent a continuous — T J Clark (TLS 24 May 1974) graphic designers such as Jamie Reid, androgynous assault on the senses, be it Neville Brody, Paul Elliman and Vaughan through her use of fabrics, colours, shape, This paper will concern itself with tracking Oliver. These individuals are associated historical connotations or catwalk over some of the historical and institutional with ephemeral pop cultural movements performances. Her designs will be looked grounds from which and into which this especially those propagated by the British at as sexual misdemeanour in an age of often-quoted statement by T J Clark feeds. music industry. Consequently they possess morally ambiguous conformity. Initially I would investigate some of the the ability to integrate new experimental • historical determinants upon the develop• ideas rapidly, often dispensing with ment of political Marxism(s) and marxist conventional barriers between art and design On the Social History of the Social History methods of historical explanation, and the to meet the exigencies of the moment. of Art emergence of feminism and its inroads into As may be expected, such continual pop Conveners: G Butt (Birkbeck College, cultural histories in the late 1960s - early ideological renewal embraces by necessity London) and J Harris (Leeds Polytechnic) 1970s (eg circulation of Linda Nochlin's many subversive elements. These essay Why Have There Been..), from which subversive forms and methods presuppose In this session we would like to consider the Clark's practice in some measure arose; de facto complete freedom of expression. formation of projects that were proferred, and to which the key question of why Clark The unpremeditated rejection of many or read as, studies within the social history made a particular definition of 'the social pragmatic and ideological conventions of of art. They may consider any period of history of art' by specifically excluding the graphic design profession is one study, or author, or version of social history. feminism from its parameters, could be consequence of this subversive process; Obvious examples would include, for addressed. I would go on to consider the and perhaps it is this process itself that instance, the work of Arnold Hauser, institutional fates of Clark's social history stabilizes and elevates this medium to formal Frederick Antal, Linda Nochlin or T J Clark. of art and feminist art history over the high art and encourages purely artistic We would also like to include papers that subsequent 20 years, speculating upon what readings of what has traditionally been consider work which, though maybe not kind of (if any) relationship has been devel• understood as pure ephemera. One strictly categorised as 'the social history of oped between what Clark in 1974 implic• additional observation is that perhaps the art', could be seen .as related or itly defined as distinct practices. I would demand for such graphic design products complementary projects. Papers should want to examine the criticisms which have warrants reconsideration of traditional address the broad social conditions and been levelled at Clark' s model for the social concepts such as perception, intention, determinants which may have shaped the history of art, on grounds such as its main• conception and content. Graphic designers development of analysis: for instance, social tenance of the traditional bourgeois canon must be aware of ideas that reach well and political developments such as of art objects (almost exclusively the work beyond the sphere of traditional design- revolutionary movements, feminism,, the of male artists), and its use of rhetorical practice. Cold War, etc. We invite possible tropes of concentration, discipline, order contributors to consider the fate of the social and analytical power which have been as• 8. Juliet Ash (Ravensbourne College of history of art (if, indeed, it was every singular sociated with a logocentric epistemology Design and Communication) as an enterprise) and to speculate on how and further gendered as masculine (Preziosi, Vivienne Westwood: subversion as future projects, those both imposed by Pollock). I would finally want to address seduction conditions (institutional, political) or the documented shift in Clark's ideas from This paper will trace the progression in preferred as models, may go on to extend or the exclusion of feminism as a disruptive Vivienne Westwood's clothes design from redefine the terms of description, analyses interference with the discipline, to his reas- overt political and moral subversion through and evaluation. sertion that 'feminism is the place where 17 LEEDS CONFERENCE

the key questions are being asked* (Preziosi). Adorno. Renewed which seems to be of crucial fascination for considering again the emergence of this interest in Aesthetics. Clark and, increasingly, what drives his WW w statement from a particular historical and Post-modern argument. institutional conjunction, and its possible Benjamin/Adorno: My focus will be on the development of significance for future developments in Jameson. Burger, this problematic of mediation in Clark's social/feminist histories of art. Huyssen etc. project. In particular, I want to consider its role during the 1980s and where Clark 2. Ben High more This paper will propose various enquiries: engages with the discussions on M/ Adorno and Benjamin: from A to B and the relationships of explanatory social modernism. This enables a reconsideration Back Again and Again... a social history of histories of art and programmatic of the concept of 'negation'. It also raises a cultural debate evaluations of current practices; the important questions of Clark's use of the It is a familiar explanation of the Adorno/ relationship of the 'Philosophy and Art* resources of aesthetics (Adorno and Hegel) Benjamin debate to suggest that their dif- industry (Andrew Benjamin. Peter Osborne in the work on Pollock. J WW ferent positions stem from antagonistic geo• etc.) and anti-sociological enquiries into political perspectives. Benjamin's gaze is art: it is envisaged that these questions will 4. Gavin Butt (Birkbeck College) turned back to the heroic years of the Soviet offer a chance to survey and critique some Bexond the Polemics: 'Block', Art History avant-garde, while Adorno looks towards of the recent literature concerning Adorno and Hegemony the USw A and sees the increasing adminis- and Benjamin. It has recently become commonplace for w tration of all walks of life. some on the left to equate the writing of art However, on closer examination the 3. Gail Day history, even 'radical' or social art history, complex dialectics of describing the world Clark and the Persistence and Mutation of with a cultural and political conservatism. and prescribing suitable antidotes (a a Problematic Such a point of view has been variously dialectic evident in both writers) makes Setting itself against a range of procedures articulated by a number of contributors to such accounts problematic. common to art history (established and the magazine Block, including Nicholas Faced with the difficulty of ascribing to 'leftist') in the aftermath of *68, Clark's Green, Jon Bird, and others. This paper will J w social history of art soon came in for criticism analyse the theoretical underpinnings of these writers a stable position, this paper from other new intellectual and political this point of view, to address the differences will attempt to trace a history of the social strategies. These challenged its inclusions between the methodologies of the social life on an engagement between these two and exclusions, and questioned its degree history of art and those employed by writers writers. of 'opposition' to previous paradigms. Here, in Block, principally the differences between From A to B looking at the initial though, I want to consider how Clark defines Marxist forms of historical explanation and correspondence and its and pursues his project, to go into the Foucaultian discourse theory. I will be keen relation to their other difficulties and dynamics set up within it. to criticise the ways in which Block, in its \ writing. The projects and to suggest how these inflect on both the more polemical moments, collapses of Western Marxism/ institutional life of the social history of art important differences between the social critical theory. and its wider performative role. history of art and conventional bourgeois What do we expect from the social history art history. At the same time, I will be And Back Again: 1970s publication of of art? Presumably that it offers a concerned to question the notion of the Benjamin/Adorno in commitment to analysing art as a social social history of art as 'the place where the New Left Review, practice and its products as open To a questions have to be asked', to view this as debates about 'foregrounded' historical and political a logocentric and politically rigid assertion commitment and enquiry. More specifically, we expect that of priorties. aesthetics. Post '68 it treats 'art' and 'society* as interactive and I will consider going beyond the radicalism. Screen's changing (rather than as separate and static) polarising polemics of the Block or art presentation of Brecht/ categories. While the polemical edge of this history debate in order to envisage a Benjamin. Adorno as is widely accepted (though less so the full multifarious cultural counter-hegemony, cultural villain, implications), attempts to specify such one recognising the need for differing popular culture interaction have proved more sticky. The objects and methods of approach. This professionalised. amassing of historical material, however pluralising of cultural operations shall be vital and pertinent, too easily remains discusssed in the context of the changing An Again: 13+(?) years of 'external*, or the stuff of 'vague association'. political landscape of the past twenty years Thatcherite But, as Clark has admitted in his essay on or so, in particular the emergence of feminist Conservativism. Jackson Pollock, 'to djo otherwise is and gay politics and their relationship to Reassessment of difficult'. However, it is work of this sort orthodox leftism. 18 LEEDS CONFERENCE

5. Martin Gaughan (Cardiff Institute of As a discipline which takes as its primary design of Rodchenko, the words are the Higher Education) objects of knowledge the residual traces image. Under formalism, attempts were 0 The Bakhtin Circle and social semiotics and fragments of the past art history runs made to radically separate 'visual language' Literary and visual formalist theories and the risk of the reification of history and the from 'narrative' which was seen as mere their critiques were to develop from the process of forgetting. The challenge of 'illustration' of extraneous verbal messages. early 1920s in the Soviet Union and become Benjamin's critique of 'cultural history' Since conceptual art and semiology, more focused with the emergence of was to release art from its state of 'reading and image' has increasingly Glaviskustvo (Class War on the Cultural objectification within the narratives of an coincided with 'reading a text'. Papers Front) towards the end of the 1920s, when, historical continuum which could be should examine the interface between the for example, the journal Novy Lef would regarded as little more than a 'triumphal verbal and the visual, approached from raise these issues around photography procession' of a dominant social order. If either the critical or practical perspective. (Rodchenko) and film (Vertov, Eisenstein). the major obstacles to such a task were Papers might involve the study of The Bakhtin Circle elaborated a political rather than epistemological contemporary visual practice where verbal sophisticated critique of dimensions of Benjamin also clearly regarded the impact signs equally argue for a 'new Laocoon' Formalist literary theory: it acknowledged of modern technologies of communication where the visual and the verbal are seen as their contribution to the theorising of what as of decisive importance. Benjamin's affording distinct types of knowledge about constituted the specificity of the (verbal) formulation of these issues as they relate to the world. artefact (ie its literariness) but criticised the visual arts is well enough known through them for having ignored history and his 1936 essay 'The Work of Art in the Age 1. Tania C Tribe (University of Essex) ideology. For the Bakhtin Circle, on the of Mechanical Reproduction'. But in this The Garden of Love: Word and Image in a contrary, iiterary scholarship is only one essay and elsewhere Benjamin suggests a seventeenth-century French tapestry cycle branch of the study of ideologies'. much more complex, if sometimes picturing the song of songs The paper will briefly consider the ambivalent, series of relationships between Seventeenth-century mysticism and premises on which the Formalists technological, social and ideological devotion found expression in a number of established their concepts of the art object, conditions which together enframe the works of art which reinterpreted and how these changed in response to social and possible forms of historical knowledge. developed the verbal imagery of love political developments in general and how This paper considers the central role that conveyed by the biblical book of the Song they were superseded by the theorising of photography held in Benjamin's theories of Songs. Not only does its spirit underlie the Bakhtin Circle. The 'sociological on the nature of modernity, the modalities the intense pathos imparted by Bernini's method' or social semiotics of the latter will and phenomenologial forms of modern Ecstasy of Saint Teresa, but popular emblem be investigated in greater detail, examining experience. Insofar that the advent of books, like the highly influential Pia how it accounted for the role of class, history, photography produced a fundamental break Desideria by Herman Hugo, combined ideology. It will further consider how the in the nature of visual representation as words and pictures to transmit to a wider implications of the work of the Circle might regards the social uses of the image and in public, in ardently emotional metaphors, be deployed within current debates on the image's relationship to time and the union of the soul with God. In France, poststructuralism in constructing a cultural memory, it represented for Benjamin new the Song of Songs came to be classified as politics, placing it in the context of the possibilities in constructing historical reality a theatrical form, the pastorale sacree which theoretical work of, amongst others, Jurgen wedded to a politics of the present. could be set to music and represented on the Habermas. _•>••>_ stage. This paper analyses four seventeenth- century French tapestries, now kept at the 6. David Green (Brighton Polytechnic) Art Criticism/Theory and Practice: "The Palais du Tau (Reims), which depict History, Memory and Experience: some Visual and the Verbal" episodes from the biblical poem. Each major observations on Walter Benjamin's theory Convener: Ken Hay (University of Leeds) scene is set in a stage-like composition, and of photography framed by a border which combines direct Adorno once remarked that the At least since the doctrine of 'ut pictufa quotations from the Bible with elaborate distinguishing feature of Walter Benjamin's poesis', the visual and the verbal have been verbal-visual emblematic images. These work was to be found in 'a dialectical closely inter-related. For early Renaissance quotations and emblems comment on the theory of forgetfulness. One might even artists, church frescoes were the 'bible of action that is taking place on the stage, say, in a theory of reification. For all the illiterate'; while many later works (from adding to the main story line and extending reification is a form of fprgetfulness: objects Mantegna to Poussin) depend on a text for its significance. The paper analyses the become reified in that moment they are their full significance. In Cubism, verbal contributions of both words and pictures to taken up, without being presently relevant signs peacefully coexist with other the production of full dramatic and religious in all their aspects, in which something signifying, systems; whereas with meaning by the tapestries, drawing on the about them is forgotten.' Marinetti's 'parole in liberta' or the graphic writings of French theoreticians of the time, 19 LEEDS CONFERENCE

particularly Menestrier. M Cotin and They will discuss the relationships between the descriptive quality of curved lines on a d" Aubi enac. artist, printer, publisher and collector, and plane. In the 19th century, techniques were also deal with popular and political prints. developed that responded to the mass 2. R R Bernier market, including steel engraving for book Towards a Symbolist Theory of Visual 1. Michael Bury (University of illustration (especially books illustrated by Poetics Edinburgh) Turner). Inventors also devised elaborate This paper examines the use of a recurrent Approaches to engraving: some evidence machines which could directly transcribe analogy with poetry, made by critics of from proof states of sixteenth century Italian three-dimensional objects into line painting in the late 19th century to account engravings engravings. for a certain kind of visual experience. The The occasional survival of proof states It will be suggested in conclusion that linguistic analogy would seem to contradict (together with impressions from unfinished much of the very distinctive pleasure to be the conventional sense of perceptual plates) of sixteenth-century engravings, can derived from virtuoso printmaking is simultaneity in pictures which generally throw light upon the way that they were obtained from a subtle interplay between distinguishes the visual from the verbal. made and the priorities of the engravers. Of the compelling illusions which result from Poetry is a temporal medium, painting a particular interest are impressions (and the way the techniques operate with our spatial one. The distinction was made counter proofs) which preserve drawn perceptual apparatus and our simultaneous authoritatively by Diderot and Lessing. yet additions made by an engraver in preparation consciousness of the conventions involved. by the end of the 19th century, poetry is for further work on his plate. In the context Although this pleasure is related to a delight consistently invoked by critics to account of the development of reproductive in bravura brushwork in paintings, the for an extended dimension to visual engraving in this period, these impressions necessary constraints of scale and means in experience, beyond the instant* to a can help to answer questions about the engraving give the medium a special quality 'horizon* of possibilities imminent within relationship between skill and invention. which is uniquely its own. the procedure of painting. The reference to poetic discourse derives from a Symbolist 2. Martin Kemp (University of St 3. Pippa Mason (Arnold Wiggins and aesthetic in which the poem is regarded as Andrews) Sons Ltd) a form absolutely self-conscious about its Coming into Line: convention and Framing Prints in England from the 17th to own medium. Mallarme. forexample. alters representation in engravings from the the 19th century traditional linguistic usage, disrupts Renaissance to the 19th century Little has been published on the history of immediate access to the 'subject' and No medium is more irredeemably linear print frames or, indeed, on the framing of thereby forces the reader to become than engraving on a copper plate, yet master works of art on paper in general. Although, especially attentive to the language of the engravers from the 15th to the 19th century of course, a great number of prints and poem. It is this sense of poetry which is achieved astonishing effects in the drawings were traditionally preserved in , invoked in the comparison with painting. rendering of form, space, ligfyt, shade, libraries in books, albums and plan chests, The critical analogy has two important texture and even implicit colour/For many there is a considerable amount of evidence concerns for developing a theory of visual of the printmakers and for the collectors of that from quite early times some prints were poetics: the unusual use of language in their products, the virtuoso use of the framed and hung on the wall. description and the beholder's extended medium played a significant role in the Examples of prints in their original frames perceptual imaginative engagement with pleasure to be derived from prints. The are the best source of information but few of that use which might reveal a content not history of the graphic devices developed these survive from the period before immediately available to linguistic or visual over the ages has rarely received the attention Hogarth. Exposure to light and, before the perception. it deserves, not only in its own right but extensive use of glass, dust has simply within the history of conventions of destroyed much of the evidence we seek. representation as a whole. However, there are many other Printmaking Before 1990 This paper will look at the means contemporary sources we can turn to such employed by master engravers, including as craft manuals, craftsmens' bills, Convener: Martin Hopkinson (Hunterian Durer, Goltzius, Bosse and Mellan in the inventories and diaries which describe the Art Gallery,University of Glasgow) earlier periods. The question as to what the techniques involved and types of frames This session will cover a wide range of lines, short strokes etc. actually represent used. In 1669, Pepys went to 'the varnisher issues involved in printmaking from its was especially important in the field of about my print, whereof some are pasted infancy until the end of the nineteenth scientific illustration, and some of the upon the boards, and to my full content' and century. Speakers will address the problems debates will be examined from the 16th to Stalker and Parker's Treatise of Japaning faced by the printmakers in the translation the 19 centuries. In the late 18th century and Varnishing published the previous year of work from another medium into prints Gaspard Monge's descriptive geometry describes in detail the technique of varnishng and the representation of colour by tone. provided an ingenious means of defining prints. The executors' accounts of Ralph, 20 1st Duke of Montagu reveal that in the architectural prints as an expression of civic type of print produced in large numbers in 1690s the Huguenot carvers and gilders, pride and political change. Prints aimed at Britain, in a concentrated burst of activity, Thomas and Rene Pelletier, were supplying a mass audience make clear the meanings between the late 1770s and early 1800s. In large numbers of print frames for the Duke * s embodied in such motifs and can add an mezzotint or stipple, colour-printed or, more London an'd country residencs and, early extra dimension to the reading of more frequently, hand-coloured, these inventory of his principal London house, complex works of art. reproductive prints presented images of contemporary British life in a domestic indicates that sets of prints in black frames rather than heroic mode, through hung in a number of rooms. 5. Diana Donald (Manchester representations of generalised 'types' of Moving into the 18th century there is a Polytechnic) people rather than specific individuals. great deal more information available. The Wit and Emblem: the language of political making of frames for prints had developed prints in eighteenth-century England I will examine some of the reasons for the as a specialised branch of the trade. In 1761, The history of satirical prints in the marked but short-lived success of these Joseph Collyer's Parents' and Guardian's eighteenth century is generally presented as prints which for over twenty years Directory described the trade of 'the Picture- a steady advance from an abstruse constituted the dominant imagery of Frame Makers, who work for the Portrait emblematic mode to the dramatic realism contemporary British life. Issues such as changes in copyright law, the development Painters' and noted that The Frame-maker of caricatures by gifted artists such as Gillray of new sales techniques and the increasing for Prints is a different trade'. Trade labels and Rowlandson; a movement of taste which power and influence of particular print indicate the activities of craftsmen in this is assumed to correspond to the growing publishers will be examined in the context field and there even survive some working popularity of the prints across a wide social of the growing commercialisation of art drawings for print frames in the album of spectrum. Looking at the more famous of production in London during the 1780s and designs compiled by the craftsman, Gideon these images, we seem to witness the birth 90s. By asking who the imagery was Saint. of a recognizably 'modern' idiom in addressing, and what these audiences In the 19th century the movement away cartooning. Yet the teleology implicit in this view is called into question by a less wanted to be told about contemporary life, from handicraft to the use of machinery in selective analysis of print production, which I will examine the way in which the ideology the woodworking crafts greatly changed reveals the persistence of emblematic forms presented by some of these prints the craft of frame making and heralded the well into the second half of the century, constructed a social identity for their development of the mass market. notably in association with popular consumers. In conclusion, some suggestions radicalism. Were these cryptograms indeed will be offered as to why this ideology was 4. SheilaO'Connell (Department of Prints the remains of a backward, archaic form, or becoming less viable in the years around and Drawings, The British Museum) do they represent a creative development of 1805, during which the popularity of these Popular Prints the emblematic tradition - a living language images of contemporary life went into a This paper is based on a survey of British responsive to the argot of the streets, and to sudden and dramatic decline. prints before 1770 in the Department of the subversive political culture of the crowd? Prints and Drawings at the British Museum. And how far was the uneducated crowd Although the Department has concentrated 7. Valerie Mainz (University College, able to interpret the purely visual wit, the on prints as works of art, many of those in London) metaphorical ingenuity, ironic the collection were originally intended for Jacques-Louis David: history painting and characterisation of politicians and parody quite different purposes: propaganda the art of printmaking in France of high art which distinguished the (religious and political), information, Didot's 1798 edition of Virgil contains caricatures sold in the West End printshops? advertisement, entertainment, decoration, designs by some of the artists who had been It is possible to argue that such contrasts of titillation. The national and international pupils in the studio of Jacques-Louis David idiom in the prints reflect the social distribution of prints is discussed with before the Revolution. I shall show that differences of sponsors and target audiences; particular reference to selling prints in the David's participation in this project served and, paradoxically, that the mediation of North of England. to help restore the artist's personal status as the written word was more, not less During this period, prints were the chief a history painter of the highest rank, within significant at the plebeian level of means of disseminating images to a wide the changed cultural contexts of post- 'ideographic communication. audience and they provided the main source Revolutionary France. of visual imagery for artist and audience. Contemporary English painters and Certain motifs are followed in prints 6. Sarah Hyde (The Whitworth Art patrons of history painting actively produced throughout the period: the hooped Gallery, University of Manchester) promoted the sale of reproductive petticoat as an indicator of attitudes to Print Publishers and images of engravings. In France, the situation was women; the particular iconography of the Contemporary Life in Late 18th-century somewhat different and more complex. In Spanish Armada as a recurring theme in Britain the tradition of the peintre-philosophe anti-Catholic propaganda; townscapes and This paper is concerned with a particular Poussin, David at first resisted the making 21 LEEDS CONFERENCE

of prints after his own history paintings - which, in order to capture public attention, wide variety of sites. Indeed, perhaps all although he carefully negotiated the sale of led to a surprising amount of artistic they share is that they appear to have taken his copyrights. The trainee history painter innovation as well. Among the entrepreneurs place in some prestaged site, a site marked at the Academie Rovale de Peinture et de that are studied are those inspired by a out in advance, the limits of which are thus Sculpture for seventeen years had. however, desire for social reform like Adolphe Smith redefined, if not removed. Before this, can used prints, learning from the models of in England and Hetzel and La Bedolliere in we begin to characterise acts of past masters. Indeed, the artist often adapted France, and those, more akin to novelists disfigurement in terms of their drives, officially approved models afresh, to service like Dickens fascinated by the diversity and recognising in them common structures of the purposes of his own inventions. change of the modern world, such as Janin aggressivity? Or can we only understand From 1790 until the fall of Robespierre in France and the earlier W H Pyne in acts of disfigurement in terms of their aims, in July 1794. David* s participation in politics England. The work of these men will be what we might call their transitivity? But was active and direct. During this period his analyzed together with the art for which what about cases when the explicit aims of attitude to print making changed, as he they were responsible. some act of disfigurement remain designed prints intended for wide, public unachieved, or thwarted? Do we not dissemination. Thereafter. David did not 9. Leah Kharibian therefore need to acknowledge the aim of entirely reject the printmaker's art. for he The Joke of Modern Life: coping with Paris an aim, the taking aim? How might we read used the format and status of the art book to through caricature c1835-55 that which makes something unreadable? reassert his credentials as an artist. Usine This talk will be concerned with examining The session will be organised so as to c the ways in which people came to terms consider as wide a range of acts of this means, he could distance himself from with the experience of modern life through disfigurement as possible, from cases his "political career* without renouncing the popular forms of cartoon and caricature concerned with challenges to the authority his political views, while still utilizing the that appeared in illustrated books, albums of a state or a religion to those challenging fullest range of media available to a history and the petite presse. The paper will not the authority of an artist, authorities actual painter. only consider the context and meaning of or imaginary. And time will be made 8. Gerald Needham (University of York) these images and their accompanying texts, available within this structure so that the 19th-Century Prints: capitalist but will also examine the public and private, questions raised above and others might be entrepreneurs and artistic innovation social and psychological spaces in which posed and pursued. The purpose of this paper is to examine a they were received. The questions central varied group of entrepreneurs in the mid- to the paper will ask what position these nineteenth century who were responsible prints assumed within the French domestic Renaissance Sculpture for some surprising art. sphere, and the interior mental life of the individual, and what role they played in Convener: Amanda Lillie (University of The internal changes, the aesthetic York) transformations, in nineteenth century art negotiating the 'out there' of the modern have often been described, but the external world of Paris and the ultimate impossibility This session reflects the diverse approaches changes less often. The result has been the of the individual coping with it all. and research interests of scholars working continuation of eighteenth-century concepts on the sculpture of Italy and England of significant art as being necessarily between 1400 and 1600. Topics range from painting and sculpture, and the ignoring of Sculpture and Anti-sculpture: the 20th the study of English misericords as a the technological revolution that affected Century marginalised form of Renaissance sculpture art both directly and indirectly. Convener: Terry Friedman (Leeds City Art to the late sixteenth century development of Technological innovation particularly Gallery) a critical language and terminology for affected prints by enabling large print runs, sculpture. Overall the interrelated themes a great reduction in the cost of prints and of Speakers will include: of workshop practice and the status of their distribution, and the development of Robert Hopper (Henry Moore Foundation) sculpture and sculptors prevail. Speakers very large audiences, a considerable Alison Sleeman (Leeds University) focus on sculptors' working methods, their proportion of whom were literate. These Edward Allington (Gregory Fellow, Leeds partners, their assistants and clients, the audiences were particularly receptive to University) shape of their careers and the creation of works that combined texts and images, workshop dynasties to carry a sculptural which might be weekly magazines or books legacy from one generation to the next. distributed in paperbound weekly parts to Disfigurement Their status is considered in relation to make them inexpensive. Convener: Lewis Johnson (Goldsmiths' painters, builders, other artists and These publications were produced by College) craftsmen, while an examination of the entrepreneurs who brought together artists developing language of sculpture theory and writers in a highly competitive market, Acts of disfigurement have taken place in a and criticism adds another dimension to the 22 debate. continuing partnership between Milanese English Misericords c. 1400-1530: painters and stonemasons which resulted in sculptures developing towards a 1. Evelyn S Welch (The Warburg Institute, the large-scale production of the Cathedral's Renaissance? London) early sculpture. Misericords are both part of the choir Community and Conflict among the furniture and its sculptural programme but Sculptors of Milan Cathedral 2. Thomas Frangenberg (University of because they are placed under the seats of Archaeological and documentary evidence Leicester) the choir-stall and thus literally in a low indicate that Milan cathedral, founded on 7 The Art of talking about sculpture - position, they are considered inferior in May 1386, was originally designed in brick R Borghini and F Bocchi quality and of marginal importance. and terracotta. A year later, however, the Even though Vasari's Lives put a I shall examine the misericord carvers' superstantia decided to radically alter the considerable emphasis on sculpture and participation in the Renaissance by looking church and erect it in the streaked marble of sculptors, the terminology he applies to at the development of style in misericords the Northern Lake region. The change had sculpture is much less differentiated than from c.1400 to the Reformation when considerable implications for the new that employed in his treatment of painting. misericords lost their practical function. cathedral's financing, administration, I intend to discuss similar characteristics in However, their main importance lies in employment patterns and the development two Florentine texts written by non-artists their subject matter which is predominantly of Lombard sculpture in the late-fourteenth in the second half of the 16th century, profane, giving them their exceptional and fifteenth centuries. Raffaele Borghini's //Riposo and Francesco position within the field of sculpture. Certain This paper will explore the reasons for Bocchi's Le Bellezze delta Citta di Fiorenza, themes run through the whole period such the transformation, arguing that the decision the latter the most important 16th-century as the Woman beating the Man, and changes was taken by a small number of wealthy guide to Florence. Borghini defines talking to such representations can indicate trends merchants, notaries and lawyers who made about art as an art form in its own right, and of development. In addition, new, topical up the communal government. But they he provides a terminology that is meant to themes came on the scene, and the shifts of were encouraged and aided by a tightly knit enable the viewer to discuss, and form emphasis in the portrayal of popular and group of workers from the Campione region value judgements about, works of art. Two new themes can tell us much about what who were already at work on cathedral's of the five terms developed by Borghini for preoccupied the layperson's mind. Thus, foundations, some of whom offered to work the discussion of painting, disposition and misericords because of their earthy themes on credit in order to see the more expensive colour, are, however, considered by him as can give us insight into every-day life, and material employed. Their short-term loss partly or entirely unsuitable for the analysis above all into the sense of humour of the was more than balanced by the long-term of sculpture, and Borghini thus limits the period. In this they can be compared with, guarantee of jobs for the closely related range of his approaches to sculpture to a first, marginal illuminations, and from the masons, quarrymen and barge transporters significant extent. A first section of this 1480s with woodcuts and engravings; and I of the Lago di Lugano. paper will analyse ways in which Borghini shall consider to what extent the misericord considers sculpture and painting as different carvers availed themselves of the most up- Such close affiliations meant that the (beyond the highly conventional reasoning to-date patterns. Campione masters succeeded in dislodging of the paragone which is treated in great many of the rival sculptors and stonemasons detail in the Riposo), and will discuss how 4. Doris Carl (Florence and Gottingen) who came to Milan during its initial years, his understanding of the characteristics of including the first senior engineer, Simone The artist's workshop in fifteenth-century the art of sculpture is reflected in his Florence: some remarks on workshop da Orsenigo. But masons from Southern discussions of individual works of sculpture. Germany, emigrating to Milan in search of organisation, artistic collaboration and work, were also successful in establishing a A second section of this paper will workshop continuity. powerful confraternal network and the paper consider the way in which Bocchi in his Based upon published and unpublished will discuss the social relations amongst Bellezze, a text which is in many ways . archival material I want to examine first the these artisans and their Lombard colleagues. influenced by the Riposo, attempts to convey few contracts between artists for a The two group's radically different to the reader the appearance and importance compagnia which have come to light until architectural visions were expressed in the of works of sculpture. A comparison of now. They regard mainly a goldsmith portal sculptures over the Cathedral's double Borghini's and Bocchi's writings is company (Betto di Francesco di Duccio sacristies by Giacomo da Campione and revealing not least because these authors in and Bernardo Cennini) and a woodworker Hans Fernach which will be discussed in a number of instances focus on the same company between Francione and Giuliano detail. The former's success - Fernach was contemporary sculptures, but have very and Antonio da Sangallo. Contract dismissed and left for Bologna - is partially different goals in analysing them. conditions concerning-the definition of attributable to Giacomo's collaboration with rights and duties, of artistic collaboration, the Milanese illuminator, Giovannino dei 3. Christa Grossinger (University of financial arrangements, and the problems Grassi. The paper will end with a look at the Manchester) arising from dissolution of contracts will be 23 LEEDS CONFERENCE

considered and interpreted in their specific discussed in the sessions range from cultural ranging from the purely functional to the meaning for the different crafts. In this nationalism to regional identity, from purely ritual. These relative values are to context the problem of the artistic 'family- reconstructing 'programmes', to concepts some extent reflected in the 'finish' applied entrepreneurs' and their organisation, an of stylistic 'progress' drawn from to particular pieces, even though they fall especially frequent phenomenon in the evolutionary biology. The session is easily into previously defined categories fifteenth century in Florence, including such intended to highlight some of the area and based on their form and supposed function. well-known names as the della Robbia. the objects which are disadvantaged by current Rossellino and the da Maiano brothers will taxonomic systems and to suggest 3. T A Heslop (University of East Anglia) be treated as well. Finally. I want to discuss alternative theoretical approaches and new The Iconographic Programme in the problem of workshop continuity and its avenues of enquiry. Romanesque Sculpture: medieval fact or possible consequences for our stylistic modern fantasy evaluations and judgements. It is interesting 2. Julie Gardiner (Trust for Wessex Modern scholars have become increasingly to observe that certain workshops were Archaeology) concerned with the identification of passed from one artist to another, often Form Function, or Fancy?: the 'programmes' to explain the choice of including the 'masserizie' and the works of classification of later prehistoric flint subject matter in medieval monuments with art as well. This is not only true from highly artefacts figurative imagery. The very work specialized ones such as the Donatello During the last 100 years archaeologists 'programme' implies a degree of intellectual workshop that passed from Donatello to have been able to establish the relative and. rigour in the patron and/or artist, and Michelozzo to Verrocchio and finally to in some cases, absolute, chronologies of subsequently in the art historian who studies Lorenzo di Credi. but also for minor artists. prehistoric stone technologies across large and exposes it. It has indeed become a Another point, and closely related to the areas of the World: beginning with the major means for validating the claims to first one. is the question of the destiny of the earliest hominid tools about 1,500,000 years seriousness of scholar and monument alike. unfinished works left in his workshop after ago and running through to the latest flint- However, the very notion of the programme the artist's death. We have some large using cultures which, in Britain, date to is problematic. It is used to mean anything inventories of artists' workshops, especially around 3000 years ago. This is no mean from a loose framework of underlying from the end of the century such as Benedetto achievement given that one of the real themes accounting for some but not all the da Maiano and Filippino Lippi. Here the difficulties prehistorians face is the simple episodes in a cycle of images right through questions arise of who took over the bottega fact that we no longer use stone technologies, to a controlling prescription which and for which reasons and what may have giving us very few points of reference for determines all subjects and their visual become of the unfinished works. But the the classification of artefacts. nuancing. situation coinvolves a series of interesting juridical questions as well. Flint tool classification has generally been A serious drawback of the approach is based on either form orfunction, though the that it fails to enquire whether people in the two are inter-related. The description of Middle Ages thought programmatically in 5. Suzanne B Butters (University of typologies based on morphological traits is any of the sense in which we use the word. Manchester) the more objective, but unhelpful for This paper will concentrate on material Tools, materials and professional status in interpretation. Function is assigned to tools from the late eleventh and twelfth centuries sixteenth-centurx Florence: Tadda and largely on the basis of either ethnological and look briefly at the ways in which ideas sculpture in porphyry parallels with present-day primitive cultures, were organised in the realms of law, history, or essentially by guesswork - Does it look and theology to see if particular methods like something familiar? What do you think were favoured. It will then examine Unnatural Selection: Classification and it could be used for? contemporary descriptions of visual its Costs With later prehistoric stone communities imagery to see if there is evidence of Convener: Philip Lindley (University of the simple form/function approach is too programmatic analysis. Finally, using visual Leicester simplistic. Within what is clearly a complex case studies, it will assess a small number of political and social structure some artefacts Romanesque monuments with sculptural 1. Phillip Lindley (University of had a value or status above a purely embellishment to see what, if any, conscious Leicester) functional level, some are simply too organisational systems may have been used The strange case of the Litoptern: an beautiful and intricate to have ever been and whether these are helpfully regarded as introduction to the section 'used' for anything. This 'artistic' side has 'programmes'. The section is intended to highlight some of not been well explored. the problems with the taxonomic models Flint and stone axes may be used as an 4. Julia Watson (University of Leicester) conventionally employed by art and- example of essential tools which had a Regionalism, workshop interaction and the architectural historians and by prestige value allowing them to circulate at movement of artists in the late fourteenth archaeologists. Issues which will be different levels within society for purposes century 24 LEEDS CONFERENCE

Classification of sculpture by region by its The stylistic analysis focuses on the the age of Diirer. very nature implies a static situation whereby relation of setting to figures as required by works are indentifiably of a particular the narrative and the consequent impact on 7. Christopher Coombs (University of location. An analysis of the sculpture market the figure style. The effect of time and Nottingham) and practice at the end of the fourteenth inaccurate reconstructions is considered, A reappraisal of English medieval century indicates a situation which would and the depictions or architectural features alabasters seem to question the validity and usefulness are cited as examples of the highest quality English pre-reformation alabaster work has of regional classification. that still survive. always been considered a backwater in The major artists assembled in Dijon by An iconographic analysis reveals the European art. Little research into the Philippe le Hardi, for instance, follow certain importance of the window as a piece of documentation associated with its has been patterns of movement. After working political propaganda, particularly when seen undertaken. The result has been that the initially in their town of origin they moved in the context of the strong pro-Lancastrian dating on stylistic grounds and the division to Paris to work in the royal atelier before affiliation of its patron Thomas Langley, into 'periods' first undertaken by E S Prior either being called directly to Dijon, or Bishop of Durham. before the first world war has been accepted moving first to another court such as Jean Finally, the window is compared to earlier uncritically, even recent attempts to modify de Berry's at Bourges or that of Louis de patronage of the bishops of Durham at Prior's dating have been made within his Male. Alternatively, they were spotted by York, such as the East Window donated by original dating framework. Philippe on his travels. Both Drouet de Walter Skirlaw and the thirteenth-century Alabaster work has invariably been Dammartin and Jean de Prindale left Dijon shrine of St William donated by Anthony considered in isolation, not only have writers after they had finished their commission, Bek. on panels and free-standing statuary failed the others stayed for the remainder of their to consider tombs but the reverse is also lives. Colleagues from earlier projects were 6. Paul Crossley (Courtauld Institute of true; no attempt appears to have been made often called in as workshop assistants and Art) before this year to link alabaster work with collaborators. Goths and Humanists: concepts of Late other forms of art in 15th-century England. Thus the artists working at Dijon all Gothic and Renaissance in German The old ideas are trotted out in all the arrived with different backgrounds and historiography literature, ideas stemming largely from the collaborations. This, together with evidence The antagonism between Late Gothic 19th-century view of the pre-Tudor of a surprising amount of consultation and architecture in Germany and Renaissance 'craftsman' and the classification methods interaction between the Dijon atelier and architecture in Italy counts among the introduced in America at the beginning of both the Parisian court and that at Bourges, earliest, and most celebrated, battlegrounds this century, (I have christened this the gives an overall impression of constant of stylistic classification. Raphael and Vasari 'mass production' theory of art). movement of both artists and patrons used it as a weapon of cultural nationalism, What does the documentation actually between the main centres of Paris, Bourges, and as a method of arriving at stylistic tell us? Are there no more relevant Dijon and Flanders. This must account to a distinctions. Both approaches set the broad documents than those quoted by Cheetham? certain extent for some stylistic similarities agenda for the historiography of German If alabaster work is considered in the light between surviving sculptures of the 1370s Late Gothic for the next 400 years: on the of religious controversy of the 14th and and 1390s at centres as widespread as one hand, a recourse to style as the 15th centuries can we accept Prior's dating Bourges, Bruges, Dijon and Paris. How expression of national (or racial) and does this give grounds for a reappraisal then should one view the imposition of constants,on the other, an increasing of the whole corpus of pre-Reformation art regional divisions? preoccupation with the definition of style in England. itself, and its apotheosis in the late 19th and I shall examine the origin of the current 5. Clara Barnett (University of York) early 20th centuries as a super-personal attitudes to alabaster work and suggest that The St Cuthbert Window of York Minster entity. Both approaches are by now so the reality is different from the hardened Although one of the largest in York Minster, discredited as to need no critique, but the orthodox view of alabaster work that has the St Cuthbert window has been relatively purpose of this paper is to show that the been accepted uncritically up to the present neglected compared to other glass in the Hegelian notion of style as a creative force day. I shall propose a new date for the building, having been somewhat arbitrarily in itself (rather than a conventional label) introduction of panels as opposed to statuary classified as being of inferior workmanship. has obscured, and continues to obscure, the and suggest that the two co-existed until the This paper examines the assumptions that real contrasts and connections between Italy manufacture of devotional imases ceased underlie this negative view, and shows how and Germany around the year 1500; and in England. it is necessary to combine stylistic, that the maligned notion of cultural iconographic, and art-historical perspectives nationalism may, if properly applied, be a 8. Harriet Edquist (Royal Melbourne in order to obtain a proper evaluation of key to understanding some of the real such a work. distinctions between Germany and Italy in Institute of Technology) 25 The Castello Sforzesco in Pavia and LEEDS CONFERENCE

Castiglione's Courtier; developing a new change. Whose interests were served by relationship between the peasant and the critique for Renaissance architecture Renaissance notions of a 'Middle Age?' By artist. By consolidating a particular memory While important work has been done in the those of the 19th century? By modern of Corot, the monument promoted the artist field of 15th-century architecture by social theory? as an exemplary social subject. I would and economic historians, particularly on Others have made the point that argue that this concept of the artist as an the Florentine palace, and of course by Renaissance theory shapes much art- exemplary social model epitomised the Tafuri on Venice, architectural historians historical writing since - a point with notion of the late French Romantic genius, are generally still preoccupied with particularly obvious implications for which was the basis of Corot's popularity. questions of style, antecedents, iconography medieval art. For work like Vasari's Lives One of the most fervent promoters of this and so forth. While this is valuable, there is formed by a dynamic of contrast with that concept of the Romantic genius is Michelet, are also many other avenues of enquiry that which came before. What interests me here for whom the importance of the genius can be opened up by recourse to is the ways this construct - that is the very implicated both the creator's work and life: contemporary theoretical discourse. assumption that things we call 'medieval' The mark he will leave is not the work of In this paper I will examine the Castello and 'Renaissance' differ in fundamental this genius alone, but that life of simplicity, Sforzesco in Pavia, an important centre of ways - has been used more recently. Using childhood, goodness and holiness to which Sforza power in the 15th century within a examples drawn from 19th and 20th-century all ages will come to seek a sort of moral framework that is broadly based on writing, this paper argues that art history's regeneration' (The People, 1846). Given Foucaulf s well-known and well-used model of medieval art tells us at least as these qualities of the genius, Thore also analyses of power found in Discipline and much about the history of art history as it encouraged artists to interact in society, not Punish and 'Space, Knowledge, Power'. does about medieval imagery. only to benefit their own talent but to What is interesting here is that in Foucault' s 'contribute directly to the perfecting of discussion of the ideal French soldier of the other creatures ..' (Letter to Theodore 17th-century, his relationship to the military Tombs, Monuments and Memorials Rousseau, Salon of 1844). hierarchy and to the hierarchical layout of Convener: Nigel Llewellyn (University of What is at stake is the construction and the camp, one can see parallels with the Sussex) promotion of a certain type of artist. In late ideal courtier of the 15th century, whom Romanticism, the earlier opposition Castiglione immortalised in the first decade 1. Malcolm Baker (University of York) between 'self and 'society' is no longer of the 16th century. It is possible to situate Statuaries' Practices and Patrons' Choices: maintained. The example of Corot resolves the courtier in the space of the Castello The Design Processes of Rysbrack and the 'fragmented self. The qualities Sforzesco. a natural habitat, and to see how Roubiliac reconsidered promoted by Michelet are those which are the planning and decoration and use of The role played by drawing and models has repeated ad infinitum in the 19th century rooms produced the same effect of a 'docile often been discussed in accounts of 18th biographical studies on Corot. His concept \ body' as did Castiglione's text, where the century monuments but this evidence is of the Romantic genius is crucially linked docility of the courtier's body is ensured by frequently less straightforward than it might to that of national identity and to the myth a rigorous code of manners, gestures and seem. This paper will examine the "different of the land. The rural myth posits an essential speech. The body of the courtier it would ways in which these various types of unity between the artist and the peasant, seem is the necessary counterpart to the preliminary design were used by Rysbrack which generates a shift from the notion of spaces of the Castello, and both necessary and Roubiliac and the problems of the individual genius to the collective genius to the practice of despotic power. interpreting this substantial, but often - who Michelet reagrded as 'the voice of fragmentary evidence for the processes of the people'. This monument signals the 9. Jean Givens (University of sculptural production in mid-18th century change in the preception of the social role Connecticut) England. It will deal in particular with the and function of artists and of landscapists in Convenient Fictions: the uses of medieval relationship between sculptor and patron particular. art and the factors involved in a patron's choice Hardly a disinterested invention of of a particular design. 3. David Bindman (University College Renaissance thought, the notion of the London) Middle Ages itself has an ideological cast. 2. Jill Beaulieu (Fine Arts Department, Far from the Royal Tombs: symbolic space But if we now tend to question other University of Sydney) in 18th-centur\ Westminster Abbex conventions, for example the distinction The Voice of the People: the monument to My paper focuses on the placing of tombs in between high and low art, the useful fictions Corot at Ville-D'Avrax the Abbey during the eighteenth century, of periodization largely remain. This paper I have chosen to analyse this long-forgotten and in particular in the development of the asks how medieval art as in a sense memorial erected in 1880, five years after nave following the building of 'invented' in the Renaissance has been used Corot's death, in terms of a particular type Hawksmoor's towers. I want to explore the in the construction of a paradigm of artistic of romantic subject which constructs a implications of the presence of the royal 26 tombs, and the desire expressed both overtly with the elevations of later tombs always 6. Joan M Coutu (University College, and covertly to keep at a distance from thought likely to have been influenced by London) them, and to look at the political implications the Mausoleum, and secondly of providing The Patronage of Funeral Monuments in of the grouping of tombs in the period. I a much needed precedent for otherwise the British West Indies shall try to answer the question: Can one inexplicable second century monuments at Between about 1720 and 1820 over 90 talk of symbolic and political space in the Athens and Delphi. funeral monuments were shipped from Abbey during this period? Britain and were erected in churches 5. Christopher Coombs (Department of throughout the British West Indian colonies. 4. John Bury (London) Technology, University of Nottingham) The monuments were designed by What did the tomb of Mausolus look like? The 'Chellaston School': fact or fiction? prominent sculptors of the day, including The site of the Mausoleum, fifth Wonder of The study of English pre-Reformation the Cheeres, Roubiliac, Wilton, Flaxman, the Ancient World, at Halicarnassus, was sculpture has changed little since Prior and the Bacons and the Westmacotts. This paper excavated in 1856-58 by C T Newton and Gardner wrote in the early years of this will examine the issue of patronage within since then at least 21 different century, if there has been any change it has the realm of British colonisation. reconstructions have been proposed, up to been to polarize the study of pre- Almost all of the monuments were and including those of Professors Way well Reformation sculpture into categories. The commissioned by the colonial inhabitants, and Jeppesen published in 1989. The consequence is that we now have research either publicly by the colonial assemblies principal source for reconstructing the tomb into tombs which takes little or no account or privately by individual seeking to honour has always been the description in Pliny's •of free-standing or relief sculpture. a relative. Surprisingly few commemorate Naturalis Historiae, to which Newton's The so-called 'Chellaston' school of the various colonial governors who having excavation contributed valuable additional alabaster tomb carvers - the evidence for served their term, returned to Britain. Rather, data. which is mainly based on an interpretation the majority of the monuments Pliny's laconic Latin presents puzzling of one or two documents and analysis of the commemorate individuals who chose to ambiguities and contradictions. The MSS features of one tomb - is a result of this way settle permanently in the islands; they do of the text that have come down to us have of looking at sculpture. By analysing the not memorialise the absentee planter who therefore been suspected of copyist's errors; arguments put forward to support the idea lived in Britain. Commissioned primarily and scholars have felt free to make arbitrary of a tomb workshop at Chellaston by relatives of the deceased who also lived emendations to Pliny's measurements, or (Derbyshire) it can be shown just how thin in the colonies, the monuments are tributes simply to ignore those incompatible with such arguments are, in general. to the dead and objects which were to be their own preconceived notions. The origins of the workshop idea are admired by their peers. It is the purpose of this enquiry to take a founded in the 19th-century view of the Although these people chose to settle in new look at the problem of reconstructing 'mediaeval world', the pervasive nature of the West Indies, the very existence of the the Mausoleum by exploring two which can be seen at the present time when monuments indicate the colonists' close possibilities hitherto ignored: first, that our writers still talk of 'workshop', 'architect' ties and identification with Britain. The fact text of Pliny may be completely relied and 'designer' in the context of pre-Tudor that the monuments were designed and upon, that it may have suffered no or pre-Reformation art. carved by British sculptors in Britain corruption, and that its' apparent Stylistic analysis, the art historian's declares the dependency of the island contradictions may be convincingly minefield, has produced a number of colonies on the mother country in terms of resolved; and second, (since the carcass of questionable dates for works of art before both production and culture. Indeed, the the Mausoleum survived substantially intact 1500 and it is time that a re-appraisal of the monuments are literal examples of the until the 1490s) the possibility that a 15th- way in which the dating of works of art, exportation of British culture. This notion century eyewitness discription of the ruined where documentation is sparse, should be is further enhanced when the imagery of the monument may be discoverable. As regards undertaken. sculpture is taken into account; very little of the latter, it will be argued that such a The obsession with trying to pin down a the iconography actually refers to the West description, even though distorted due to specific work of art, be it sculpture, painting Indies. second-hand knowledge, may be embodied or other artefact, to a particular workshop The monuments are eternal, 'undying' in the most famous of Renaissance illustrated and/or an exact date is often irrelevant. This reminders of the people they commemorate. romances, the Hypnerotomachia Polifili is true when the work is seen as an expression They are also permanent evidence of British (Venice, 1499), its identity disguised by of ideas which were current or formed the colonisation and the strength of the nascent easily recognizable fabulous measurements subject of debate over a considerable period British Empire. inserted to appeal to readers' tastes for the of time. Are not the proper questions to ask marvellous. not when or by whom but why and for 7. Matthew Craske (University College. The new reconstruction thus deduced whom? London) has the additional merits first of conforming Rysbrack's major Family Groups: an 27 LEEDS CONFERENCE

investigation of the Association of the discovering the dead body of his arch• folkways in 18th-century America, have sculptural style and composition with the enemy Tipu Sultan of Mysore, an event that consistently treated the artefacts as merely aspirations of the 'country-' aristocracy took place in 1799. Lady Baird wished that a passive or reflective medium. Far from The paper will be concerned with the Wilkie stress her late husband's personal being passive, it will be argued that the analysis of the form and function of story and that the painting be a domestic monuments are in fact active as discourses Rysbrack's major family monuments to the memorial. This interpretation has been of legitimation. This activity may be on Dukes of Marlborough and Kent and the maintained in the subsequent literature. many levels, form legitimating family Earls Foley, Harborough and Beaufort. I But what of the prominent Highlander strategies to inheritance to integrating local will argue that the patronage of these who flanks Baird and what of Baird's own and national power. The epitaph and monuments and a substantial proportion of Scottish origins? What we have is a iconography can also be seen to be Rysbrack's oeuvre was that of the major commemorative image with obvious manipulated to establish and maintain social aristocratic dynasties linked with the imperial connotations tinged with problems discrimination and differentiation. 'country' opposition to the Whig of regional identity within the British Isles. Only by assessing the artefacts within administration of Robert Walpole and the Discussion will focus on the representation these contexts and by appreciating the active Pelham brothers. of commemorative images of heroic Scots role they play in the construction of social Rysbrack's contemporary reputation as during the Napoleonic period, the purpose identities amongst the elite can the artefacts the producer of 'elevated', 'sublime' and of the paper being to examine how war be more fully understood. 'antique' compositions became the subject allowed for the Celt to become more fully of a long-running controversy in the partisan assimilated into a Greater Britain. 10. Michael Liversidge (History of Art political press. The gibes of the opposition Department, University of Bristol) press pointed to the inappropriateness of an 9. Jonathan Finch (Centre of East Anglian A Figure of Speech ? The 1740 Shakespeare elevated style and the imagery of the Studies, University of East Anglia) Monument by Peter Scheemakers in classical philosopher to the sculptural The contextual study of English Funeral Westminster Abbey images of Walpole and his cronies. As a Monuments as artefacts of legitimation The monument to Shakespeare executed result of this debate Rysbrack's ordered Art historians have been known to lament for Poet's Corner in Westminster Abbey by classical monumental compositions became that English funeral monuments constitute Peter Scheemakers in 1740 enjoyed instant particularly associated with the ideology of a 'sorry tale* of mediocrity and monotony celebrity and acclaim from the moment of the retired 'country* aristocracy. in the march of aesthetical progress. its installation and has remained one of the Demonstrable links exist between ideals of Nowhere, apparently, were people more most familiar, and most frequently moral and political purity, which were deaf to the 'Berninisque echo' than in the reproduced, examples of 18th-century developed as part of the court/country parish churches across this country. English sculpture ever since. debate, and the use of simple or purist Recently, however, a wider appreciation of The circumstances of its creation, its ^ classical forms in monumental sculpture. the monuments, particularly as artefacts of contemporary critical reception, and its The paper will explore themes of moral material culture, has led to a new interest in influence on painting are all very well reform, political nostalgia and triumph over the subject and a positive re-appraisal of the documented, but its iconography has currupt authority which underlies subjects' importance. remained relatively little studied although Rysbrack's major family compositions; This paper, based on a study of intra• the sources used in its design are well themes associated with the retreat of mural funeral monuments in Norfolk, hopes known. By examining its use of 'borrowed opposition dynasties into virtuous country to suggest two main points. Firstly, it will attitudes' and their significance within the retirement. be argued that the artefacts can only be fully circle of Lord Burlington, Alexander Pope understood if they are studies within the and William Kent who were responsible for 8. Fintan Cullen (Dublin) many contexts from which they derive their devising the monument, it is possible to Wilkie 's 'Sir Baird Discovering the Body of meaning and signification. These contexts arrive at an interpretation of the symbolic Sultaun TippooSaib, after having captured range from the temporal pattern of significance literally 'embodied' in the Seringapatam, on the 4th of May 1799' monumental commemoration, which is figure of Shakespeare. The evidence (1839): commemorative image or often neglectd by typologically-specific indicates a carefully contrived choice of assimilated imperialism ? studies, to the architectural space of the sources and are particularly appropriate to David Wilkie's immense portrait of David church and the agrarian system of the the subject and suggest that the monument Baird (Edinburgh, National Gallery of landscape beyond. was conceived as a representative of Scotland) was commissioned by the latter's Secondly, it will be suggested that the Shakespeare's eloquence by portraying him widow in 1834, Baird having died in 1829. use of funeral monuments as evidence to as a figure of speech. A Scottish-born hero of one of the early support arguments about, amongst other British victories in India, Baird is depicted things, Elizabethan conspicuous 11. Rodney Palmer (Apollo by Wilkie in a dramatic night scene consumption, the rise of individualism, and correspondent, Rome) 28 LEEDS CONFERENCE

Quattrocento tombstones from San Lorenzo 13. David Thomson (University of East contemporary women sculptors. in Damaso, Rome Anglia) In the course of the current excavation of Architectural Accessories and Options for 1. Lorna Green (Sculptor and Lecturer) the Early Christian basilica of San Lorenzo Expenditure: fountains, fireplaces, The Position and Attitude of Contemporary in Damaso beneath the Cancelleria, a level doorways, dormers and tombs - France Women Sculptors in Britain, 1987-1989 of Quattrocento tombs is being unearthed. and England in the 16th-Century My research, based on the analysis of Some of its occupants are clerics who came (Details to follow) detailed questionnaire sent out to some 250 to Rome during the papacies of Martin V women practising sculpture in Britain today, (1417-31) and Sixtus IV (1461-74). Other 14. Simon Wilson (Tate Gallery, London) documents the socio-economic conditions memorials, for instance those of the Cerasi Epstein's tomb of Oscar Wilde of women sculptors and iheir attitude to family, functioned as reminder# s of (Details to follow) their practice. The research enquired into continuing dynasties, as well as monuments how women became sculptors, the role of to the dead. Within such social contexts, art colleges, their method of survival shall this paper will address individual questions discuss their responses to the world of art of identity. The Practice of Sculpture: Towards a history and art criticism and the effective Having been themselves interred in 1501, Feminist Critique support feminist theory has provided women during the construction of the Cancelleria, Convener: Claudine Mitchell (University artists. the later Quattrocento stones are of Leeds) The research demonstrated that the key exceptionally well-preserved, and proffer factor in becoming a sculptor was that of a new insights into issues of style and One objective is to provide a forum to formal art education, regardless of the time symbolism. The tomb of a Damasian canon evaluate the place accorded to women or country in which the sculptor studied. It (died 1472) is almost unworn; another, in sculptors and to document the social also became evident that the progress for the style of Mino da Fiesole, pertaining to a constraints against which they have had to women in sculpture was improving and woman who died in 1476, retains traces of position their practice. This session brings they have participated effectively and to a blue, red and gold paint. It may be that the together art administrators, historians and greater degree in the production of sculpture use of colour was more widespread in the practitioners who have found it relevant to since 1960, but there were still areas where funerary art of the period than is currently test critical theories in relation to, or from women are not accorded the same believed. Similarly, the paper will examine within, the practice of sculpture. Feminist consideration and equal opportunities that iconographic strategies deployed on the theories, we believe, are capable of sculptors who are men enjoy. These include San Lorenzo in Damaso tombs in the wider questioning the assumptions which have the continuing lack of women lecturers context of Quattrocento funerary art. sustained this practice. Do they offer to within the art colleges, inadequate powerful institutions which, like the Musee representation amongst major national 12. Fiona Pearson (National Galleries of d'Orsay or the Henry Moore Foundation, galleries and collections and limited Scotland, Edinburgh) have tended to use traditional models in inclusion within academic discourses on A Dialogue of Commission: Flaxman and their promotion of sculpture? Are women the history of sculpture. the Monument to William Murray, Ist Earl artists confronted with insoluble Due to the expansion of sculpture into of Mansfield for Westminster Abbey (1793- contradictions when attempting to fulfil the outdoors, both nationally and 1801) their feminist convictions in the tough internationally, into alternative indoor The production of the monument to William profession of sculpture? exhibition spaces and the use of non- Murray, 1st Earl of Mansfield by John Our other concern is to stimulate the traditional materials by both men and Flaxman for a prime site in Westminster collaboration between historians and art women, it is possible to conclude that Abbey was paid for by a private benefactor. practitioners, discussing the strategies women are gradually succeeding and However, the Mansfield family papers women sculptors have developed to finance benefitting within these wider parameters reveal their complete control of the their costly practice, exhibit regularly and of sculpture as a whole as well as commission. Letters from Sir William earn their living. Can we define the terms of contributing to the new history of sculpture. Hamilton and John Flaxman in Rome a feminist methodolgy capable of grasping include an unpublished design for the tomb. the specificity of women's art practice while 2. Alison Yarrington (Historian and Throughout 1793-4 the sculptor and his exposing the social conditions which Administrator, Leicester University) arbiter of taste discussed the sculptural field constantly put their career at risk? Reconstructing the history of Women in Rome, the evolution of the composition Sculptors in 19th-Century Britain and the practical problems in shipping a An exhibition will be held at Leeds (Details to follow) model back to the Mansfield family for University Gallery to coincide with the approval. The monument was finally conference. It is called 'On the Brink?' 3. Erich Ranfft (Courtauld Institute of completed and placed in 1801. and features the work of four Art) 29 LEEDS CONFERENCE

Gender differences and status of Women 6. Anne Wagner (Historian, University their architectural settings might be Sculptors in German Expressionism of California, Berkeley) understood in a way which has not This paper seeks to investigate facets of the (Details to follow) previously been the case. artistic production and conditions of women sculptors in Germany, c 1905-35, who were 7. Alan Bird (Historian) 8. Carola Muysers (Berelin Gallery) involved in one or more spheres or periods Women Sculptors and Soviet Russia The Association of Women Artists in Berlin, of Expressionism and related Russian and Soviet art during the 20th- their history, purpose, and presence on the manifestations. Integral are questions of century has been vastly enriched by the contemporary art scene gender differences and status, all of which contributions of women artists. Many of the The 'Verein der Berliner Kiinstlerinnen' have been badly neglected; while on the avant-garde atists such as Popova created 1867-1992 aimed to place women's work whole there exists little critical research on works in the field of Constructivism but this on the Prussian art market. Today this way the few better-known women practitioners. paper deals with three women who worked of marketing seems to be very controversial, Notwithstanding, at stake is not a mixed in the more traditional field of monumental but in the period before the foundation of star-system, but one which articulates an sculpture. Golubkina, Mukhina and the Verein, women artists had to fight for historical depth of German sculpture Lebedeva all worked in the Soviet era existence as they were not accepted as production in Expressionism, in order that although Golubkina's career had started professional art producers and sellers. we may recognize the extent and breadth of earlier in the century. All three women The first part of the paper will undertake quality of production by the many, lesser- faced difficulties of varying kinds; and their an historical enquiry into the professional known male and women sculptors alike. work ranged from the extremely personal identity of the woman artist. Attention will be paid to the situations of to the most triumphantly public. The second part of the paper will offer an successful or visible women practitioners, The careers of these three women poses analysis of the professional identity of such as Milley Steger, Emy Roeder, Renee questions as to the priorities in life women artists in the late 19th-century, which Sintenis, and Kathe Kollwitz; and those of established by them and the society around will form the basis for a history of the lesser-known women, who included Gela them. There is also the question as to how a development of women's art in German- Forster, Sophie Wolff, Marg(arete) Moll, woman from Russia's poorest class speaking Europe. Use Scheffer, Katherina Heise, Martel manages, unlike her contemporaries Schwichtenberg, and Harriet v. Rathlef- elsewhere manages to get training and 9. Claudine Mitchell (Historian, Leeds Keilmann. establish herself in contemporary eyes as a and Paris) Emphasis will be placed on issues of major artist; and, equally, how do two The Missing Woman artistic education, regional/marginal versus women of undoubted personal and public Intellectuality was not easily accepted in central artworlds, personal context versus morality enjoy successful careers during women sculptors. The representation of professional contacts; and on ascertaining the Soviet and Leninist years? Each of these sexuality was subjected to a system of S commonalities in women's techniques or women worked in a different style and control and the language of sexuality content (spiritual/contemporary, undertook different kinds of commissions. developed in art criticism in relation to approaches to the figure). The questioning Golubkina and Mukhina wrote on the nature Rodin exacerbated the conflict. Women of these aspects will in turn be gender- of their chosen craft. Mukhina, in particular, sculptors at work in Paris in the first decade oriented: For example, how did being was extremely conscious of the relationship of the century measured the nature of the married to a successful male artist affect the between sculpture and architecture. dilemma, as they watched the breakdown in careers of several women sculptors? To Now that the Soviet Union appears to be the career of their colleague, Camille what extent was there a 'women's presence' crumbling away and its statues and Claudel. This is the necessary background through the visibility of Steger, Roeder, or monuments are being dismantled and broken to understanding the position of women Kollwitz? To what extent were their up, it becomes especially urgent to consider sculptors in France, well into the interwar representations of the female body different? the nature of its art with an emphasis on period. Were they perceived as such? sculpture. Although it has hitherto been I propose to examine the sculptural despised as much for political and practice of Jane Poupelet, drawing parallels 4. Helena Staub (Curator and Historian, commercial reasons as for any reasoned between her ambition to transform the Paris and Prague) consideration of its quality the art of this tradition of representation of the female Rodin's Female Students period constitutes a distinctive element in nude and her main career policies, the (Details to follow) 20th-century culture. If instilled attitudes support she sought from the international and prejudices can be put aside, the quasi- women's liberation movement and her 5. Helene Pinet (Curator, Musee Rodin, realist work of these three women can be attempt to control the construction of her Paris) seen in their true light. Possibly, too, the artistic identity on the axis intellectuality- The Female Models in Rodin's Practice society which commissioned the sexuality. (Details to follow) monumental sculptures of Mukhina and Poupelet like Claudel was recognised as 30 LEEDS CONFERENCE

one of the best sculptors of the period, in the impact that they have on aspiring women encourage an exchange of ideas in an area contrast to each other they were seen to sculptors. I will focus on Percent for Art which is ripe for wider reassessment. represent the two extreme poles of women' s and publicly commissioned sculpture as a sculptural practice. How did Poupelet's reltively new phenomenon and analyze the 1. Paul Usherwood (Newcastle upon Tyne work come to be so forgotten? In the state ways in which women have been included Polytechnic) of imbalance between the recent in and excluded from its processes. Public Sculpture and its audiences: mythologizing of the one and the monuments to George Stephenson in mid unjustifiable neglect of the other lies much This section will be concluded with a forum. 19th-century Britain. of the problematic of my research. Panel members will include Yvonne Deane, This paper looks at the production and Lubaina Himid, and the sculptors of On the initial reception of three pieces of mid- 10. Lubaina Himid (Art Practitioner and Brink? Show, Cathy Aeons, Lorna Green, 19th-century sculpture: the monuments Lecturer, Lancashire Polytechnic) Joanna Mowbray and Lois Williams. erected in Liverpool, Euston and Newcastle The Pugilist: Augusta Savage and the _•>••>_ to the great railway engineer, George diversions of creating a context Stephenson, in the period immediately This paper will speak of Augusta Savage Sculpture in the Public Realm following Stephenson's death in 1848. It 1892-1962. It will discuss the Convener: Catherine Moriarty (Imperial argues that the extent to which each of these documentation of her work, her place in the found a passing audience depended less on history of Black Art and her time in Paris. War Museum/Sussex University) the formal or iconographical character of Using her work as example I will show how This session will focus on the theoretical the work itself than on the particular Black women artists are influential as problems raised by public sculpture. The meaning, which happened to be attributed teachers and innovators, as facilitators and relationship between factors traditionally locally to the site and Stephenson as an pioneers but how this can then limit their considered particular to sculpture in public historical figure. output and move them to the margin, and spaces will be examined; its three- even the margin of the margin. dimensionality, access, permanence, non- 2. Elizabeth Norman (Sheffield City Does the expense of materials and studio saleability, large scale. How these qualities Polytechnic) space, the shortage of committed curators, convey meaning and determine function, Inscrutable or innocent: public sculpture the lack of patronage and the absence of be it decorative, didactic or commemorative, in Tokyo documentation really seriously deter the is of central importance. The emotive and Tokyo challenges the western visitor's Black woman as sculptor or can no one deal ideological potency of sculpture in the public preconceptions about public sculpture. True, with the Black woman as builder of domain is bound up in these factors, hence the city offers urban plaza and private sector monuments? the outcry which any challenge to the pieces and a nearby sculpture park. Japan Will the gallery show the Black woman monumental canon provokes. seems to have absorbed this development artist when the work she produces is active A consideration of public sculpture which of the '60s as easily as many other Western and alchemical. subverts meaning by challenging imports. Yet public sculpture's more recent In creating a context for their own work convention or reversing such properties concern with urban renaissance and identity and others they curate and publish will be a central consideration; so too will has no apparent counterpart in Japan. It is documentation, they are active in the politics the subversion created by the canon itself; not needed. Space is too scarce to be left of the history of art. the interpretation of past events, derelict for long or to be reserved for Can the history of art paint them into the personalities and political regimes. sculpture alone and the pattern of society's picture? Emerging from this will be the prevalence public behaviour is settled. What is free of constants, determining factors such as from imitation, however, is the sophisticated 11. Yvonne Deane (Director of Axis, patronage, artistic practice, and production garden references within the city. Here both Leeds Polytechnic) together with issues such as sculpture and material and form have native familiarity The debate about 'equal opportunities' in its meaning over time, the sculpture and its and are in keeping with the particular the arts has largely failed to address the siting, the sculpture and its audience, the character of Tokyo. A low level city, its particular position of women arts sculpture and its function. principle feature and most visible survivor practitioners who - in the fine arts - are The papers in this session reflect a variety from the past is the Imperial Palace and conspicuous by their numbers on graduation of research areas, examining sculpture in Gardens. Modern public sites appear to from art college and by their relative absence public space from different countries and adapt principles of garden design, borrowed in the overall pattern of exhibition and periods. Site, patronage and iconography space and the viewing station. These sites funding provision. My intention is to are key issues yet each contribution covers seem rarely entered but nonetheless offer to examine the structural, institutional and many of the interlinking themes outlined any passer-by the visual refreshment of cultural factors which influence the above. It is hoped that the methodological spatial expression and play of scale. No city development of sculpture and, in particular, and theoretical problems encountered will could do better with limited space. 31 LEEDS CONFERENCE

3. Melanie Hall (English Heritage) in the case of a successful career, the remains a focus of controversy; the Civic Pride cometh before a fall: the public direction of 'patronage' altered to the extent decapitated head - present location sculpture of Leeds City Square of being reversed. Bourdelle's relationship unknown - reappeared in a poster opposing The object of this paper is to demonstrate with Montauban is not untypical of that the 1990 New Zealand Sesqui-centenary how Leeds public sculpture, and in particular enjoyed by French statuaires in the Third commemorations. City Square, was a reflection of late 19th- Republic, and I will use archival material to In this paper I will summmarise the art century civic politics, designed to present focus on the tensions of this filial bond, history and history of the monument and an image of the newly-defined city and its particularly evident in the areas of authorship who and what it has been perceived as place in the life of the country. and ownership. Controversy arises both symbolising. I will draw on sources dating I shall begin by looking at how the Square before and after inauguration, the sculptor from the time of the monument's planning came into existence, the desire for a civic being unable to accept the convention of the and unveiling, as well as the subsequent space and the suggestions put forward. transfer of ownership inherent to that historiography of Grey (eg the biographies Attempting an open debate, suggestions ceremony. of Rutherford, 1961 and Stone, 1987). frequently included sculpture and often an Particular emphasis will be accorded to equestrian with subjects ranging from the 5. Mark Stocker (University of Grey' s status in a post-colonial context, and heroic to the colloquial. The nature of the Canterbury, New Zealand) with this in mind I have interviewed Dr opposing schemes highlight some of the Director of the Canoe9: the monument to Ranginui Walker of the Maori Department, problems facing civic sculpture. Reasons Sir George Grey in its Colonial and Post- University of Auckland, and Sir Keith for the choice of scheme offer further Colonial Contexts Sinclair. A specially made video will be insights into provincial civic patronage. Sir George Grey (1812-98) is described by screened which includes footage of the The choice of figures, (including the Black the historian Sir Keith Sinclair as 'one of statue in its decapitated state. I hope that the Prince) will be considered in the light of the the most remarkable British nineteenth paper will raise parallels with other identifiable civic ideals they embodied. The century governors and one of the most controversial objects of iconoclasm, but inconography is particularly interesting in remarkable people who have lived in New also provide a distinctive slant on this New its use of traditional male and female types, Zealand'. Grey was twice Governor of New Zealand/Aoteara example in its relationship reactionary rather than subversive, though Zealand and later its Prime Minister. He is with post-colonialism and the contemporary not without anomalies. The programme commemorated in a marble portrait Maori cultural regeneration. clearly aimed to relate to earlier civic monument in Albert Park, Auckland, by schemes and to function on a national, Francis John Williamson, 'Private Sculptor' 6. Angeliki Sachini (University of international and art historical stage. Its to Queen Victoria. The monument, unveiled Thessaloniki) status as a work of art will be looked at, both in 1904, is a rare example of 'coat and Art for the Living or the Dead? in terms of the artists selected (some of the trousers' realism in New Zealand, and was This paper discusses, using specific leading New Sculptors) and rejected and in based on photographs and advice given to examples, several problems concerning terms of its function as a civic amenity (in Williamson by Pember Reeves, Agent- public sculpture in Greece today. Such a surprising literal sense) and projection of General in London. problems are the influence of ancient Greek the Town Hall. Reasons for the subsequent The monument celebrates Grey's role as sculpture, especially gravestones and free• rearrangement and partial dismantling of ' Director of the Canoe/Shelter of the Maori standing works, on modern public the Square serve to highlight the race, in days gone past from adverse winds', monuments, conditions imposed on vulnerability of public sculpture arguably both in it pedestal inscription, quoted here, sculptors submitting work to competitions, made more so, in this case at least, by the and in the stump decorated with Maori the banning of works deviating from the lack of a coherent policy for its place in carving. However, Grey's status has always officially accepted (conservative) style and civic life. been controversial. His policies alternated site-related restrictions on a work. Questions from conciliation to confrontation; he of sponsorhip as well as ideological and 4. Penelope Curtis (Tate Gallery, published four books on Maori language, moral issues raised by public sculpture will Liverpool) history and culture but he also played a also be discussed, for example the use of LEntente Cordiale: the sculptor and his major part in provoking the New Zealand sculpture for political reasons. Finally, the ville natale. Emile-Antoine Bourdelle and Wars. Unveiled to general acclaim, his statue meaning and function of public sculpture in Montauban was defaced in 1952 with' the ravager of the Greece (mainly didactic or I hope to highlight the question of ownership Maoris' daubed on it; and on Waitangi Day, commemorative), the 'reading' of of public monuments, and to do this through 1987, Upokokokua, a radical Maori group monuments by the public and the examining the particularly sensitive beheaded this monument. A replacement educational role of sculpture in public places relationship between the statuaire and his head was made by the Auckland sculptor by a country with very few modern art home town. The local municipality was Roderick Burgess and was fixed to the collections, will also be considered. traditionally the statuaire's first client, but statue in March 1989. The Monument 32 LEEDS CONFERENCE

7. Sighle Bhreathnach-Lynch (University the role of symbolism. competition tried to use their submissions College, Dublin) in other ways, so that the public monument Public Sculpture in Independent Ireland 8. Rev Graham Kent (Leeds Polytechnic) indirectly initiated other types of work, 1922-1972: expressions of identity and Public Sculpture and Dissent particularly models and engravings. nationhood in bronze and stone My intention is to select some of the (Details to come) important sculptures produced in Ireland The New Sculpture during the first fifty years of Independence. 9. Catherine Moriarty (Imperial War Convener: Ben Read (University of Leeds) These include sculptures from a variety of Museum/University of Sussex) categories; political, literary, religious. I Pedestal to Plinth: the representation of the This session will examine the New Sculpture would like to explore each of these soldier on First World War Memorials movement in Britain between cl880 and commissions with a view of demonstrating This paper will trace the sculptural depiction c 1914. It will aim to examine the movement their importance as visual sources in the of servicemen on British war memorials. both in its contemporary critical definition documentation of the ideological concerns From ancillary characters in the narrative and in the light of more recent historical and of the new State. reliefs depicting the achievements of great critical evaluations. This requires reading the monuments on generals and admirals the common soldier Suggested key-note topics are: Was the several different levels. For instance the came to be monumentalised in his own movement as new, not to say revolutionary Sean Mac Diarmada monument in its choice , right.Change s in the organisational structure or subversive as is sometimes made out? of hero can be seen as an embodiment of the of the military and of warfare itself will be Does a new focus on the movement's context widespread hope for a fully independent mapped alongside the art historical invalidate the term 4New' as applied to it? Ireland. However the type of stone chosen developments which made this monumental Are there particular artists not normally for the carving, the specific siting of the subject possible. The function of the soldier- included in the canon of the New Sculpture monument and the deliberate unfinished statue as a symbolic representation of the who should be there? How and why did this appearance of the perimeter are other many thousands of dead buried overseas major movement of its time become important factors in a proper understanding played a significant role in assuaging the marginalised? How soon does the 'New' of the work. On the other hand a study of the pain of bereavement. The public honouring sculpture become, if not 'Old' then at least Cenotaph with its reliance on Christian and of the absent dead in this way also provided 'mature'? What conceptual and formal Celtic motifs reveals a concept of Ireland a site for disseminating specific values about processes bring about such a redefinition? and Irishness which moulded Irish thinking nation, service, unity and masculinity. for many decades. The Padraic O Conaire 1. John Glaves-Smith (Staffordshire monument which celebrates a modern 10. Valerie Holman (Wimbledon College Polytechnic) literary figure writing exclusively in the of Art) Representation of Reverie in the New Irish language not only articulates the Sculpture cultural aspirations of post-colonial Ireland (Details to come) (Details to come) but its deliberate rejection of artistic conventions in relation to materials and 11. Marjorie Trusted (Victoria and Albert 2. Dr John Turpin (National College of plinth signify a serious attempt to produce Museum) Art and Design, Dublin) a distinctively Irish form of sculpture An The Winner and the Losers: the competition Oliver Sheppard (1865-1941): culture, examination of the function of the popular for the Memorial to Alderman Beckford politics and the New Sculpture Wayside Cross in the 1920s and 1930s In 1770 a committee of aldermen of the City (Details to come) points to the closeness of the bonds between of London was convened to organise a political and religious spheres in Irish life. competition for a statue to Alderman 3. Dr Mark Stocker (School of Fine Arts, The popularity of Christ the King Beckford (1705-1770) to be erected in the Canterbury, New Zealand) monuments can be read as a manifestation Guildhall. The competition was won by 'Victoria Redeemed': the coinage of 1893 of the intense piety in the new State. But in John Moore, whose monument can be seen (Details to come) their loyal declaration of allegiance to a there today. The rejected designs of two of spiritual king of nations rather than to an the other competitors, Agostino Carlini and 4. Philip Attwood (Department of Coins earthly one, these monuments are also an Nathaniel Smith, survive also. The aim of and Medals, The British Museum) expression of Ireland' s search for a national the paper is to examine how such public Medals of the New Sculpture identity which included a strong spiritual competitions were set up, as well as the (Details to come) dimension. ways in which they provided work for My study will include other features sculptors in England in the second half of important in any study of public sculpture; the 18th-century. Such an analysis also the choice of inscriptions, problems of style, suggests that subsequently the losers of a 33 LEEDS CONFERENCE

Australia spectrum of critical and historical concerns for being subversive in some way - Convener: Terry Smith (Power Institute of covering almost the entire chronological traditionally, for affirming a transcendent, Fine Arts, University of Sydney) history of US art and architecture. Generally revelatory, sublime aesthetic against the speaking, the papers in this session fall into grain of a corrupted, materialist society, or 1. Terry Smith (Power Institute of Fine two broad categories: they either critically whether it is portrayed as essentially Arts, University of Sydney) evaluate current scholarly approaches; or complicitous with dominant powers and Trouble Doubling: contradiction and they treat historical examples of subversion. ideologies, in which case subversion lies in change in Australian art history They also consider such issues as the relation the historian's revelation of this complicity. between different types of subversion, most As traditional avant-gardists, the artists 2. Russell Staiff (Department of Fine Arts, crucially the relation between the political themselves frequently made extravagant University of Melbourne) and the aesthetic. A number also take up the claims for the subversiveness of their work; Colonial Visual Culture in South Australia: problem of effectiveness; did subversion the most notorious was Barnett Newman's the surveyor's eye and the cartographic really occur? Was there a (temporary or assertion that a proper reading of his urge' permanent) shift in relations between art paintings would mean the end of all state and its audience? capitalism and totalitarianism. Subversive 3. Heather Johnson (Department of Fine art historians attempt to demonstrate the Arts, University of Sydney) 1. Paul Mattick, Jr (Adelphi University) contrary - that actual readings of the art of Gender, Myths and Marginalisation in Andy and the Art Historians Newman and his colleagues promoted state Australian Modernism While Andy Warhol's work has been easily capitalism and cultural imperialism. Is the absorbed by the art market and museum, it historian's claim to subversion more 4. Kenneth Wach (School of Visual and has proved more resistant to digestion by legitimate or substantive than Newman's? Performing Arts Education, University of critics and historians. One strain of Currently there are instructive Melbourne) commentary sidesteps the problem of works disagreements among left art historians who Surrealist Iconography in Australia: Ivor notable at once for extreme thinness of seek to improve and extend Serge Guilbaut's Frances 'Schizophrenia of 1943 substance and continuing power to fascinate, subversive initiative and further dismantle by writing them off as typically meretricious the traditional, triumphalist representation 5. Sylvia Harrison (Art History products of the age of hype. More interesting of Abstract Expressionism, which served Department, Latrobe University) approaches have attempted to come to grips so well the purposes of the United States Australian Pop and Cultural Identity in the with Warhol's importance by employing government during the Cold War era. Is it 1960s methods and conceptual categories framed important now, in the face of recent neo- in terms of the relation between 'high art' conservative refurbishings of the 6. David Bromfield (Department of Fine and the products of the 'culture industry' triumphalist paradigm, to seek to restore a \ Arts, University of Western Australia) and in relation to the idea of avant-garde art subversive dimension to the art itself, Mike Parr: The Black Boxes 1979 and 1980 as an embodied critique of capitalist society. perhaps running the risk of reviving its My paper will take up aspects of this familiar avant-garde identity but reclaiming 7. Ian Maclean (School of Art, University discussion as it has engaged such writers as radical potential for the right-minded work of Tasmania, Hobart) Rainer Crone, Benjamin Buchloh and of art? Or is it preferable to refine and The Marketing of Aborigines: Labels and Thomas Crow. It will argue the limitations extend the analysis of ideologically and Paradigms of normal art-historical procedures, politically conservative dimensions of the including those of some radical critics of art? And if so, how is the latter best bourgeois culture, for understanding accomplished? I propose to analyze and Introduction to Art Historical Warhol's artistic career. compare various evolving strategies and Subversions in the United States early results in recent scholarship. Convener: Alan Wallach (The College of 2. Michael Leja (Northwestern William and Mary) University) 3. Terry Smith (Power Institute of Fine 'Sheep in Wolf s Clothing? Abstract Arts, University of Sydney) This session considers in a broad way efforts expressionism, art history and subversion Modernism, the Machine Age and by US artists, critics and art historians to The scholarship on Abstract Expressionism Modernity: shifts in writing histories of deflate, undermine or subvert reigning art- provides a particularly rich field for early twentieth century American art and historical and art-critical paradigms and consideration of the issue of' subversion' in design discourses and to put in their place 'radical' art history, since various claims to Since the 1950s, when the first wave of or 'subversive' paradigms and discourses. subversiveness have animated the analysis histories of twentieth-century art began to Focused on neither a single issue nor a of this art. The great divide in the scholarship appear, the question of how modern art in single period, the session addresses a broad concerns whether the art itself is celebrated America might be said to relate to 34 LEEDS CONFERENCE

modernizing social developments has been 4. J Gray Sweeney (Arizona State 1970s and 1980s the art market capitalized approached in three connected but University) on the scholarly endorsement of works distinguishable ways. The key terms of Subverting Luminism: deflating a formalist authenticated as luminist. each - modernism 4the Machine Age' and 'ism' As scholars develop more precise and 'modernity' - indicate approaches which In 1980 the National Gallery of Art staged historically grounded conception of 19th- cannot escape implication in'each other. American Light: The Luminist Movement century American landscape painting, The sets of objects selected for analysis, the 1850-75. The exhibition culminated three luminism as an analytical category appears evaluative structures employed, and the decades of scholarly efforts to insert increasingly anachronistic. A major problem aesthetics of each overlap considerably. luminism into the history of American art. facing the new art history in the United But they do not add up to a consensual Simultaneously the sprawling eclecticism States is how to undo the damage done ensemble: rather, they are marked by the of American Light exposed the during three decades in which luminism uneasy truces and occasional sharp clashes inconsistencies and limitations of the term. has became firmly entrenched in the of ideological and political In the decade since scholars attacked the teaching of the history of American art. incommensurability. concept of luminism as ahistorical and Each of these terms had a complex life interpretatively inadequate. 5. Susan Noyes (University of North (indeed, many lives) in the period itself - The term luminism had no currency in Texas) that is, between 1910 and 1940. They were 19th-century critical literature. In a 1954 Not a Digression: art and politics in the also tied to contrary or alternate regimes of article John I H Baur defined formal 1930s visuality, such as pre-modern pastness, elements that he designated luminism. Many art-historical surveys of 20th-century various regionalisms or certain kinds of Abstract formal design was a stylistic American art written since World War II realism. These struggles clearly mark the denominator of luminism, and Baur argued use style as the primary category to order subsequent histories of the period, as do the that luminism was a unique expression of history. Historical significance is based demands of their times of writing, including the American national spirit. A group of almost entirely on the degree to which an the present. artists who had been considered relatively artist assimilated the abstract aesthetics of This paper will attempt to chart something minor in their own period were rediscovered modernism. In this approach, the politicized of these unfoldings. It will be shown that, and promoted as luminist. Luminism was artists of the 1930s who are not easily historiographically, there is no simple elevated as an indigenous category of style placed within a modernist aesthetic progression from one phase to the next. with critical authority comparable to continuum are seen as a digression from the Instead, the three strands contend, with Impressionism, or Realism. more important history of modernist art in each achieving, in turn, a prominence which Barbara Novak's 1969 book American America. soon proves temporary. Modernist views Painting of the Nineteenth Century enlarged This interpretation is now being dominated in the 1950s and 1960s, on the idea of luminism. Novak asserted questioned. Serge Guilbaut, Annette Cox, emphasizing waves of abstraction. These American landscape painting of the mid- and Cecile Whiting, as well as others, have were challenged during the 1970s by a 19th-century was a movement of artists begun to examine the role of politics in the renewed interest in realism and the whose signature style was marked by sharp American art world of the 1930s. My own American scene, while being augmented edged form, pristine atmosphere, and a research in progress on the art writing of the by the impact of Pop Art's celebration of conceptual geometry linked to indigenous decade also examines the political commercial culture. This latter .led to a folk art. Novak also posited a connection complexity of the 1930s. Artists and critics revival of interest in representations of the between luminism and Emersonian emerge as equally preoccupied with political Machine Age, a fascination perpetuated Transcendentalism. For Novak, the luminist events and economic conditions as with during the 1980s by the new historicism of vision stretched from John S Copley to style. In this context, many writers on art superficial postmodernism. Critical Sheeler, Hopper, Wyeth and Sol Lewitt. At adopted various types of Marxism to justify postmodernism's drive to re-examine the the core of Novak's idea was a desire to the creation of an art that was responsive to complexities and contradictions of early establish art historical respectability for economic and political conditions and spoke modernism has reinforced another 1970s 19th-century antecedents of American to a broad audience. Such an attitude united preoccupation: the concern with the variety modernism. artists and critics of widely differing of visual cultures of everyday life, their In promoting the litte recognized artists perspectives, including Stuart Davis, a continuities and differences. Thus the recent selected for the canon of luminism, Novak modernist painter, Charmion vonWiegand, emphasis on the visual imagery of and her colleagues embraced artists as an artist and journalist with experience in Modernity, as explored in my book Making diverse as Martin J Heade, Sanford R Soviet Russia, Anita Brenner, a writer with the Modern: Industry, Art and Design in Gifford, Fitz Hugh Lane, and John F Kensett. roots in the Mexican mural movement, and America (forthcoming mid-1992 from the Monographs were published and exhibitions Meyer Schapiro, an art historian at Columbia University of Chicago Press.) mounted that appeared to validate luminism University. as an art-historical category. During the The presentation will examine how these 35 LEEDS CONFERENCE

four writers adopted Marxism in order to 1938-9 and their subsequent publication as The political, social, and economic order of suggest both the complexity of political a popular text will also be included. the United States was in jeopardy in the commitments during the decade and the As a result of judging modern architecture winter of 1876. The recent presidential usefulness of political ideology as opposed on the sole criterion of style, the American election was unresolved. The threat of to modernist aesthetics as an analytical tool skyscraper was dismissed as marginal, and secession, widespread social disaffection, for understanding the 1930s. Frank Lloyd Wright was reduced to the role and another civil war loomed large. of prophet. No American architect was seen According to conservative papers like The 6. Henry C Matthews (Washington State as having the credentials to design the New York Herald, Washington was overrun University) Museum of Modern Art. by Marats and Robespierres. The International Style as Manifest Destiny: A final element of the paper will be a The presence of both Turner's Slaver s subverting American architecture 1929- brief discussion of the flight from Germany Throwing Overborad the Dead and Dying 1944 of Mies van der Rohe and Walter Gropius, (The Slave Ship), and Church's Niagara, in The standard interpretation of the history of who by their acceptance of major teaching the sale of John Taylor Johnston's collection 20th-century architecture pivots on the positions in the United States helped to in New York in December of 1876, created 'International Style' as the central event in fulfil the manifest destiny of the a situational polemic representative of the the progress toward an enlightened International Style. larger national conflicts mentioned above. modernism in America. This term and The Slave Ship subverted audience concept is a somewhat arbitrary idea defined 7. Marie Clifford (University of expectations by working as both foreign and propagated by a small group of articulate Lethbridge) and American. The painting represented historians and curators who sought to replace (Sub)Versions of 'Militant Women*: the invasion of bad foreign goods and the pluralism of current architecture in suffrage imagery in the art of the pre-World reminded audiences of the Civil War and its America with what they saw as a cohesive War I American left contemporary political and social modern style based on the work of a select This paper examines the roles suffrage ramifications by wedding incendiary subject group of Europeans. This paper applies the imagery played in projecting the subversive to violent, confrontational mode or metaphor of manifest destiny, the political stance of the pre-World War I American representation. As The Herald noted: 'there doctrine which served to legitimize the left. A case study of the pictures published is every reason to rejoice that the common total possession of the American West by in The Masses, a Greenwich Village socialist sense of America refuses to pay the people of Anglo-European culture in the magazine, sheds light on the shifting extraordinary prices demanded for such 19th-century, to the critical doctrine that conceptions of woman suffrage in both works'. resulted in a modernist European hegemony mainstream and radical discourse. By In comparison, the sale of Church's over American architecture in the 1930s promoting 'militant women' as symbols of Niagara was carefully and triumphantly and 1940s. Both phenomena were heralded revolutionary change, the magazine mapped:' Here was a great American picture by eloquent justifications, both resulted in attempted to reverse a widespread upon which buyers could safely make liberal the destruction of indigenous traditions. construction of difference between the US offers and they did'. The price fetched by Using this metaphor as a frame of and English campaigns for female Niagara signalled the recovery of American reference, the paper will focus on the events enfranchisement. Thus The Masses' strategy business acumen. The Herald applauded and the critical writings that led to the seemed well suited to challenge the status Niagara's destination - Mr Corcoran's domination of modern European quo because it appeared to dismantle gallery in Washington DC - 'to remain architecture over American architecture. ideological conjunctions of womanliness there forever'. Turner's painting may have Through quotations from published and and Americanness (versus the unfeminine, reminded viewers of an American drama unpublished material, mainly from the foreign militant) and, by extension, question not yet played out, but the traditional 1930s, it will show the extent to which a few the political system itself. Yet, as an American representational and symbolic influential individuals were able to investigation of the critical discourse values commemorated by Niagara's manipulate the course of architectural surrounding the journal's suffrage triumph signalled the return of order to the history. The incisive writings of Henry illustrations reveals, dissident and nation's capitol. Russell Hitchcock, the evangelism of Alfred establishment views on femininity were Barr, who saw the introduction of the often mutually reinforcing, working to 9. Roger B Stein (University of Virginia) International Style to the United States as a uphold pervasive stereotypes about women Exhibition Design as Subversive Strategy: moral cause, and the role that Philip Johnson and their claim to political power. The West as America played as the curator of architecture at the The National Museum of American Art's Museum of Modern Art are central to the 8. Eric M Rosenberg (Tufts University) 1991 exhibition, The West as America: discussion. The influence that the Swiss 'A Great Disappointment' and a 'Great Reinterpreting Images of the Frontier, was historian, Siegfried Giedion exerted through American Picture': Turner's Slave Ship a self-conscious attempt 'to dispel traditional his Charles Eliot Norton Lectures at Harvard and Church's Niagara in 1876 ideas about images of the West, to place 36 LEEDS CONFERENCE

them in a new context designed to question areas to be covered will include historic 13. Caroline Whitworth (English past interpretations'. It thus drew upon interiors, furniture, metalwork, ceramics Heritage) revisionist historical scholarship to and wallpapers. Brodsworth Hall and its collections challenge ideologically Western history, through discursive arguments in the 1. Peter Walton (Bar Convent Museum, catalogue essays and confrontative, verbal York) assertions in the wall labels of the exhibition. Northern collectors of ceramics c1868-1945 But beyond that, through its selection and spatial organization of the artefacts 2. Sarah Riddick (formerly York City Art themselves into thematic groupings focused Gallery) on critical issues, the exhibition also The Milner-White collection of pottery at attempted to recontextualize the images, York City Art Gallery and by doing so to demystify them and Following discussion at the December problematize their traditional hieratic 3. Peter Brown (Fairfax House, York) meeting of the Executive Committee, function as dominant cultural signifiers. The Fairfax family and Fairfax House it was agreed that the Chair of the Public responses to the verbal messages AAH should send the following letter were loud and sometimes angry; the 4. Sarah Nichols (York Art Studies) to the Yugoslavian Ambassador in effectiveness of the visual strategies was Gillows and their patrons in the North London j largely overlooked. Given the fact that public museum spaces are not neutral but 5. Lucy Wood (Lady Lever Art Gallery, Your Excellency, already coded to transmit cultural messages, Port Sunlight) The Executive Committee of the exhibition strategies can play a critical role Lord Leverhulme as a Patron and Collector British Association of Art Historians in deconstructing and helping their of Furniture has reason to believe that the cultural audiences to deconstruct traditional heritage as well as the population of meanings. 6. Ian Gow (Historic Scotland) certain nations in the Yugoslav But the 'subversion' which The West as Historic wallpaper hangings in Scottish Federation are currently being America sought to effect was not only about country houses condemned to systematic destruction. the meaning of Rocky Mountain pioneers The Association has directed me to and captive white maidens, of Indians and 7. Christine Woods (Whitworth Art write to you requesting that cowboys; the exhibition also challenged Gallery, Manchester) representation be made to the Federal the epistemological status of the visual The Whitworth collection and the wallpaper Government of Yugoslavia to ensure image itself and the nature of its truth claim. industry that the Hague Convention regarding By doing so, it illuminated a task of the new the preservation of historic and cultural art history. Such a history will not only ask 8. Kathleen Simpson (Nottingham monuments is obeyed by all the how images embody, enact, give shape to, Polytechnic) adversaries in the present tragic conflict. or question the complex of relationships The Association believes that no with a society; it will also seek to present The ArtNouveau glass maker and his circle political or strategic aims can ever justify damage inflicted upon the cultural these reformulations in exhibitions which 9. James Lomax (Temple Newsam House, themselves reconfigure visually older heritage of any one nation in the Leeds) Yugoslav Federation. The Association narrative sequences in ways that subvert The purpose of plate in three English country those older patterns. I of Art Historians seeks a categorical _•>•*_ houses assurance from the Federal Government of Yugoslavia that military forces under 10. Eric Turner (Victoria and Albert its control have been ordered to obey Patronage and Collecting in the Museum) the Hague Convention regarding Decorative Arts Sheffield Plate historic and cultural monuments and Convener: Adam White (Temple Newsam that the Federal forces ensure that all House, Leeds) 11. Tom Campbell (Tapestry Research participants in the hostilities obey these Archive) I Conventions. This session will be devoted to British and Tapestry collecting in the reign of European decorative arts in the post- Henry VIII I medieval period, with an emphasis on the Yours sincerely North of England. It is hoped to arrange 12. Mary Brooks (York Castle Museum) I fourteen' papers on several subject areas Collecting historic textiles in museums. Martin Kemp with two papers on each area. The subject To be confirmed. 37 NEWS REPORT ADDRESS BY SIR ERNST GOMBRICH ON THE OCCASION OF THE AAH BOOK FAIR IN THE NATIONAL GALLERY, LONDON, 8 NOVEMBER 1991

Sir Ernst Gombrich attended the 12th Book than eight thousand full page illustrations. plates that can be compared with the Fair of the Association to mark the Thus it was in the '20s and early '30s that originals, at least by those who can lug the publication of his new collection of essays, the art book with artistic pretensions was volume to the place where they hang. I Topics of our Time published by Phaidon born, and if we can believe Kenneth Clark suspect that in the the field of colour printing Press. A combination of unfortunate and it was the monograph on Botticelli by the the Japanese and the Italians have been in unforeseen circumstances prevented his Japanese Yashiro (1925 and 1929) that first the lead, but I hope that this Fair will prove prepared address from being delivered at incorporated plates of details purely for that this country is catching up. the Book Fair itself and he has kindly their aesthetic charm. In any case, my most recent collection of consented to its being printed in the Bulletin. I am always eager to combat the legend essays called Topics of our Time has no that in this country art history had to wait for colour plates, and I hope it is not too heavy 'Unlike many of the participants in the the arrival of us refugees from central Europe to read in bed, though it is not really intended Book Fair, I have no experience of art to be established. The mere existence of the to send you to sleep. I think it is most publishing, but, unlike them, I may claim National Gallery in London and all the generous of the organisers of this Fair to that thanks to my age I can remember a other glorious public collections in Great admit it among the Art Books because its century of art books. I know that the Britain should suffice to explode this myth. subtitle will tell you that it deals with "20th- centenary of my birth is still some time But art books are different: I think it is true century issues in learning and in the arts".' away, but since my parents married in 1905 to say that it was mainly the arrival of three many of the art books they brought into the men from central Europe that created an family home in Vienna dated from the entirely new situation and opportunity. I am The Table of Contents of Topics of our 1890s, or the turn of the century, and it is thinking of Nicolaus Pevsner who persuaded Time is as follows with these I grew up. There were standard Allen Lane of Penguin to launch the Pelican editions of Klassiker der Kunst in stiff and History of Art and of course The Buildings An Autobiographical Sketch 11 splendid covers of red and gold, each volume of England, both modelled on German The Embattled Humanities: containing a brief text and illustrations of precedents; of Walter Neurath who after The Universities in Crisis 25 all the known works of a single master such founding 'Britain in Pictures' launched the Relativism in the Humanities: as Raphael, Michelangelo or Titian, and firm of Thames and Hudson that is still The Debate about Human Nature 36 although the illustrations were no flourishing; and Dr Bela Horovitz, founder Relativism in the History of Ideas 47 eyecatchers these authoritive volumes have of the Phaidon Press which he brought over Relativism in the Appreciation of Art 56 rarely been equalled, let alone surpassed as from Vienna where he had created, with Approaches to the History of Art: useful tools. To supplement them, there Ludwig Goldscheider, a highly successful Three Points for Discussion 62 \ were the less ambitious monographs series of large monographs with impressive The Conservation of our Cities: published by the firm of Knackfuss with a plates sold in enormous numbers at a price R us kin' s M essage for Today 74 more discursive text and somewhat undergraduates could afford. Watching Artists at Work: indifferent illustrations. The majority of these art books I have Commitment and Improvisation By the time I went to the Gymnasium mentioned mainly had black and white in the History of Drawing 92 after the First World War, I was able to plates; colour plates were considered by Plato in Modern Dress: witness the coming of age of a new wave of highbrows to be a concession to vulgar Two Eywitness Accounts of the art books, largely inspired by the rising tastes. I still recall Dr Horovitz saying to me Origins of Cubism 131 movement of Expressionism and presenting when we discussed the first edition of The Kokoschka in his Time 142 larger and more dramatic photographs of Story of Art back in 1949 'Don't be shocked, Image and Word in Medieval Sculpture and other hitherto I would also like a few colour plates.' The Twentieth-Century Art 162 neglected subjects. It was the French who prejudice was not entirely snobbish, for The Wit of Saul Steinberg 188 knew best how to exploit this reversal of most colour plates, as distinct from priceless A Master of Poster Design: taste with the folio editions by such masters facsimile editions, tended indeed to be crude Abram Games 195 of photography as Christian Zervos who and garish. The Photographer as Artist: knew how to assimilate primitive artefacts I may complete this survey by reminding Henri Cartier-Bresson 198 to the idiom of Picasso - thus furnishing you of the remarkable change that has come striking images of what Andre Malraux over this field in the last ten years or so, of called Le Musee Imaginaire. That Museum which the main beneficiary is that new was rounded off in Germany by some sixteen genre of art books, the blockbuster splendid volumes of the Propylaen Exhibition catalogue, which even gives Kunstgeschichte which together have more hostages to fortune by including colour 38 NEWS REPORT FROM MODERNISM TO POSTMODERNISM.. A report on the second annual graduate symposium held on Saturday 16 November 1991 at University of Essex

There is no doubt that the graduate art On this occasion it featured eight papers hermeneutics of psychoanalysis alongside history schemes at the University of Essex from postgraduate and postdoctoral an inordinate, even 'sublime', socio• have been enriched by the participation of speakers, as well as a concluding paper economic power. students from a 'practical' art background. from a guest speaker. The 'grass roots' Not only were such issues addressed The recent Annual Graduate Symposium at nature of the enterprise allowed for a much through the dire city imagery of German Essex, which took as its theme 4 Art Theory more open atmosphere than one would Expressionism, but also in the photographic and Practice: From Modernism to normally expect from such an occasion, image of the British soldier in 1914, Richard Postmodernism', was envigorated by this and the overall quality of the presentation Wilson's extraordinary lake of oil currently cross-over. The speakers came from colleges for once made it regrettable that the tight on show in the Saatchi Collection, and a of art and design as well as universities schedule confined discussion to a few video of a ballet dancing wrestler whose nationwide, and the symposium was minutes for each piece. name was outshone by his true dadaism! scheduled to coincide with an exhibition of Not surprisingly, two related themes There is no doubt that this was an works by current and past Essex Art History which emerged were that of the function of extremely valuable day for all concerned, graduates. modernist representation in constraining and one which produced enough enthusiasm The symposium itself is a recent and constructing perceptions of sexuality, to generate discussion of a theme for 1992. development, and is almost entirely and that of the 'centredness' or otherwise of organized by the graduate community in the subject in a culture which has at one and Neil Cox the Department of Art History and Theory. the same time developed the sophisticated November 1991

Report on the 1991 CIHA Toyko Colloquium

The 1991 CIHA Tokyo Colloquium began Unexpectedly in the last Section, the contribution 'Time, Chaptering, Continuity its opening day under typhoon conditions. Colloquium came close to what it had hoped and Construction in Western Art'. In another It closed two days later with Professor Shuji to be,'... a milestone in the evolution of art lecture, Tconological Interpretation of the Takashina unable to resist making passing history'. A reading of the marginalia of The Scheme of Colour of Michelangelo on the reference to that event when he called for Book of Hours of Jeanne d'Evreux in terms Sistine Chapel Ceiling', Professor Midori one culture, one nature. of supressed sexuality, given by Professor Wakakuwa set her investigation within The CIHA programme had a force of its Madeline Caviness, produced an electric western painting. Considering the greatest own. Speakers invited from Europe, response from Japanese women in the discovery of the recent restoration to be its America and Japan produced a programme audience and at question time, an colour, she proposed a reading of the scheme of sustained interest, marked by an acknowledgement of the rarity of such as a vehicle through which iconographical excitingly unpredictable exchange of ideas language heard at academic meetings. The concepts are expressed. The ceiling presents and outlook across cultures. As Professor women presenting papers and representing a hierarchy of existence based on Marilyn Lavin said, in discussing Italian various Japanese Universities, had lively representing God as the father of light, light fresco narratives, not even the question of ideas of their own, I thought. It was these itslef. Professor Wakakuwa later reading left to right can be assured. scholars' activities that interested me most enthusiastically discussed with me a very Three sections were designated; about the exchange provided by the different subject, a project investigating the Encounter and Exchange, The Spatial- Colloquium. predominance of female nude sculpture at temporal Structure of Art, and Concept and I recall particularly Midori Sano speaking Tokyo's new municipal centre by a number Method. Individual topics ranged from a on 'Narrative Expression in Handscroll of her female graduate students. discussion of narrative in many guises, Painting'. She referred to scroll painting's The impact of the Colloquium upon the individual artists Seurat and Shiba Kokan, designed sequence to make sense of a discipline would be one of evolution not to the contemporary issue of the use of narrative that was not meant to be seen all at revolution, Dr Albert Chatelet considered computers in art history. The programme once, like music, existing in the present and in the closing address. Some change, fulfilled its promise '...to work from the disappearing into the past. The issue here of however, had already occurred. specific problems of art hisory to a new transforming a simple narrative into an general understanding of its universal artistic one, she felt was not unrelated to the Elizabeth A Norman assumptions.' subject of Professor John White's Sheffield City Polytechnic 39 NEWS REPORT Minutes of the 17th Annual General Meeting held at Kings College, London on 14 April 1991

1. Executive Present resulted from the National Gallery who differed substantially from that obtained by Martin Kemp, Elizabeth Miller, Theo were due to host the bookfair to coincide the AAH. The meeting pressed on the Cowdell, Simon Miller, Nigel Llewellyn, with the conference having to withdraw Executive the urgency of this issue in relation Joanna Woodall, Monika Puloy, Maurice this offer because of arrangements for to its impact on their working lives. Davies, Rowan Watson, John Murdoch, opening the Sainsbury Wing and subsequent Neil McWilliam.TagGronberg. Saul Peake, insurmountable problems in finding a 3.4 Sotheby's had generously agreed to Jonathan Harris, Deirdre Robson suitable alternative central London venue sponsor an annual lecture for the next five (deputising for Clare Ford Wille). in the time remaining and at a suitable cost. years. The scale of the sponsorship would A conference on training for curators jointly allow for the possibility of inviting speakers Apologies: organised by the AAH, Museum from abroad from areas of cognate practice. Clare Pumfrey, Hazel Clark, Lesley Association and Museum Trainers' Forum It was hoped to address issues of the moment. Kerman, Howard Hollands, Julian Gardner, was being built round the November The series had been initiated by Peter Clare Ford Wille, Tony Hughes, John White. bookfair. There was also a possibility of a Greenaway at the 1991 conference. Marcia Pointon. students' event. Out-of-London conference bookfairs were a matter for the discretion of 3.5 The AAH was one of several bodies 2. Minutes of the 16th AGM, 25 March the conference organisers but the problems who made a representation to Ravensbourne 1990 of this year had focused attention on the College over the threatened dismantling of issue of should the bookfair be seen as a With the correction of the date of the 15th the Historical and Theoretical Studies service to members or as a more AGM to 9 April 1989. the minutes of the Department which had now been averted. commercially-orientated event bearing in 15th AGM were signed as correct. The situation in the colleges and mind the essential contribution bookfairs polytechnics required careful monitoring. had traditionally made to the Association's 3. Chair's Report Advice and constructive help offered by the finances. Francis Ames-Lewis expressed 3.1 The year's major initiative had been AAH was generally taken seriously by the view that the bookfair provided an the production of the document Guidelines institutions. important opportunity for an exchange of for the Professional Practice of Art History thoughts and advice between art historians, which the 16th AGM had authorised. It had 3.6 Liaison with National Museums and particularly younger scholars, and been drafted by the Chair with input from Galleries publishers, and for a crucial enhancement an Executive Working Party and other 3.6.1 V&A A liaison meeting had taken of the profession. He urged that efforts be interested bodies such as the art trade, the place in September 1990 but in the light of made to coordinate future bookfairs with media, museums and galleries. Although of the subsequent last-minute postponement London conferences and that the benefits to necessity limited in scope, it was hoped its of the Art of Death exhibition, it transpired publishers might make them more willing constructive tone would prove useful to a true dialogue has not yet been established. to contribute the extra money required for vrefer back to cases of difficulty. If a member On the instruction of the Executive the hiring a central London venue. Other drew a contentious issue covered by the Chair had written to the Chairman of the speakers suggested that time to attend the Guidelines to the Executive's attention it V&A's Trustees, Lord Armstrong, in bookfair should be timetabled into future would be dealt with in the first instance by protest, copying the letter to the press. A conference schedules perhaps around a a small group which John Steer had agreed firm and early date has now been set for the paper on the year's trends in art history to chair. A three year rolling review was rescheduled exhibition. Confrontation was publishing, so that it became more than just envisaged as well as comments and not being sought but the Association would a shopping trip on both sides. suggestions welcomed at other times. The continue to seek to help the V&A's research document will achieve wider circulation by base to flourish. Lines of communication being published in the Journal of Cultural 3.3 Copyright on slides made from books needed to be kept open. Property edited by Professor Norman and periodicals. The 1988 Copyright Act is Palmer of Sussex University, an expert in opaque. The AAH had paid for a legal 3.6.2 Tate Gallery A useful meeting had property law. Jaynie Anderson also intends opinion from Robin Fry of Stephens been held with Nicholas Serota following using it as the basis for an article on relations Innocent solicitors. Many members had an initiative from Marcia Pointon concerned between the art trade and art historians for applied for copies of the opinion, available over the availability of the British Art The Art Newspaper. A copy has been sent to from the Chair with a s.a.e. There were collection. A proposal to establish a joint the College Art Association. tentative plans for the AAH to convene a AAH/Tate forum of British Art had meeting of the seven or so main copyright emerged, to explore exhibition ideas and 3.2 The 1991 bookfair was taking place holders* representative bodies to seek their opportunities for scholarly/curatorial co• as an event separate from the annual views and attempt to hammer out a operation. This was being pursued. conference on 8-9 Novembeer. at the representative agreement. The RCA library National Gallery. This arrangement had had also obtained a legal opinion which 3.7 Use of money raised by an AAH 40 NEWS REPORT

event to fund further work in that area. This 100 was Kate Woodhead, a member of five exemption on conference organisation had had been raised as an issue of principle in years standing. been accepted but the final overall position the light of certain projects falling outside had not be established. The rate for full the terms of grant giving bodies such as the 3.12 Tribute was paid to the individual membership had been static for some time British Academy. The Executive had contributions made by those retiring from and an increase in subscriptions would be opposed the idea of earmarking part of the the Executive who had in most cases already necessary for 1993. In the meantime a small global finances in this way, regardless of signalled their intention to continue their accounting loss might ease the VAT the quality of the project proposed. The involvement in other ways. Elected problem. Increased Bulletin costs were due question of the AAH acting as a grant members Hazel Clark, Simon Miller, John to the increase from 3 to 4 issues per year awarding body would require a rise in Murdock and subcommittee chairs Julian deemed desirable to provide better flow of individual subscriptions to cover costs. Gardner and Maurice Davies. Special information to members. Typesetting mention was made of the resignation from component higher than printing costs. 3.8 South Africa Scholarship Appeal. This the post of Director of Publicity and Variations in conference costs resulted from had been launched at the first 1991 Administration of Pamela Courtney who the location. Increased subcommittee costs conference plenary session. The working had created the post and in leaving it left the reflected rising scale of their activities. The party was chaired by Eric Fernie and Association with a lasting legacy, of a withdrawal of some institutional support comprised Tag Gronberg, Sarat Maharaj, membership of over 1,000 obtained through had made the payment of some Executive Hazel Clark and Simon Miller. SM was vigorous promotion of the Association in Committee members' travel expenses dealing witht the adminstration. Members many spheres and the continuing growth of necessary. The fees for the two paid officers were urged to discharge their social the AAH derived from her vital contribution of the Association had been index linked. responsibilities and contribute. to the success of countless bookfairs and The banner had last been used at the 1988 conferences. Bookfair. The late or under payment of 3.9 Major project for 1991 -92. To review subscriptions continued to be a problem. the Association's administrative structure, 4. Secretary's Report Direct debit possibilities were being to see what improvements should be made. The first year had been occupied with explored. Thanks were expressed to the learning the ropes. The report of the auditor Michael Quinton and especially to 3.10 Future conferences. See 3.2 above. Polytechnics and Colleges subcommittee the dedicated work done by Peter Crocker. The 1992 conference was to be in Leeds. had inadvertently been omitted from the Contact had been made with the Chair and 16th AGM minutes published in the 6. Director of Publicity and Secretary of the Dutch art historians' February Bulletin but would appear in the Administration association to explore the idea of staging May issue. The Hon Sec had attended on Please see 3.12 and 3.11. the 1994 conference in Holland. The behalf of the AAH an AAH/V&A liaison meeting mandated the Chair to proceed meeting, and a Standing Committee on Art 7. Bulletin: Editor's report with exploratory talks bearing in mind costs Documentation one day conference on Things were running smoothly apart from a particularly of accommodation for those problems of art documentation and tendency of contributors to pay insufficient without institutional support and the provision. She had dealt with the heed to the copy deadlines clearly published additional expense of arranging an overseas arrangements for selecting a new Director in the Bulletin in advance. Late submissions conference. The Dutch annual conference of Publicity and Administration and are costly for the Association. The editor is a one day non-residential event. Pauline commented on the drafts of the Guidelines would welcome more submissions of Ridley proposed a higher conference fee for the Professional Practice of Art History general interest. The last year has seen an for those with institutional support. The from her own standpoint as a curator. The increase in revenue earned from inserts and Chair agreed to pursue this with the hope of nominations for the Executive Committee advertising. not exceeding a London conference fee. were Fran Hannah, Deirdre Robson and CIHA (Comite International d'Histoire de Charles Saumerez Smith who were all duly 8. Art History: Editor's Report 1' Art) 2000 would take place 4-9 September elected. No nominations had been received There had been a 6% increase in at the Institute of Education. A start up for the 1992 Chair and it was agreed to subscriptions in 1990-91. Since 1987 there grant from the British Academy had been extend the deadline to six weeks from the had been an increase of more than 100 agreed. The local committee chaired by AGM, ie until 26 May 1991. institutional USA subscribers and more than John White would be passing responsiblity 60 in the rest of the world. Since 1987 there for the initial admin of the grant to the 5. Honorary Treasurer's Report had been a drop of 10 in the number of UK AAH. A detailed annual income and expenditure institutional subscribers mostly among account was circulated. The treasurer museums. Members were urged to 3.11 The new Director of Publicity and stressed that the AAH is a non-profit making encourage their institutions to support the Administration chosen from a field of over organisation. The principle of VAT journal. In 1990-91 103 articles had been 41 NEWS REPORT

submitted compared to 116 the previous Students A careers booklet which should subcommittee had sought to bring issues to year. The majority were from abroad. There be ready by the November Bookfair was the fore and bring out creative conflicts. had been a small increase in UK submissions being produced. A conference on the subject Nicola Kalinsky has taken over as and an even smaller one from Eastern was also planned. A membership drive subcommittee chair. Europe. Few articles were submitted from amongst O.U. students meant that students France, Germany and Italy where likewise now made up 16% rather than 107c of Artists Papers' Register This proposed there were few subscriptions. In recent members. The target was 20%. A committee index of Artists' Papers in the UK was a co• months there had been a pleasing up-turn in had been formed aimed at broadening operative project between Glasgow, submission on pre-1700 material. The representation to include O.U., overseas Reading, Birmingham and London. A acceptance rate was roughly 1 in 6. Every' and mature students. The Chair thanked sponsorship document had just been drawn article was read by the editor and serious Saul Peake for his efforts in reviving this up, seeking a figure of 1 million to fund the contenders passed to outside readers, and subcommittee. full scale project, but as yet no monies had suggestions made to the authors where been obtained. necessary. Kathleen Adler is reviews editor. Polytechnics & Colleges The 1990-93 A new editorial assistant replacing Marianne 3-year plan had been published in the 10. Leeds Conference 1992 Ryan who was leaving would shortly be November Bulletin, based on regional This would take place from 11 to 13 April. appointed. Two board meetings had taken workshops designed to inform members of Accommodation would be in the University place since the last AGM. Board members developments. In the past year the topics Halls of Residence and the actual conference fulfilled a valuable role in reading some were Credit Accumulation and Transfer at the Polytechnic. The theme was submissions and assessing and discussing Scheme (CATS) and modularisation. Future Subversions' Objects. Three keynote past issues of Art History. topics would be Research and European speakers were planned, one of whom is links. A questionnaire had been sent out to Griselda Pollock. There will be seventeen 9. Subcommittees institutions in this sector asking about their academic sessions, a bookfair and trips to Freelance A well-attended special research policies to ascertain a picture of sites of local interest. interest group meeting had taken place as what was happening to academic standards part of the conference. There had been a when the staff were under increasing 11. Motions 25% increase on last year on the numbers pressure. The motion that The Association of Art on the Freelance Register. Thanks to Julia Historians strongly supports the initiative King a document on guidelines for working Universities In the climate of declining to establish a chair in women's studies and freelance had been produced and would university resources the subcommittee had art history in the department of history of art appear in the summer 91 Bulletin. The been involved in lobbying on certain issues. at the Humbolt University in Berlin, problem of harassment of art historians The subcommittee chair had written to the Germany' was passed unanimously. leading groups abroad was unresolved and authorities at Manchester and Queen Mary A motion of thanks was also passed by was being taken to the European Westfield over frozen posts. There had been acclamation to Joanna Woodall and John Commission. It was hoped to arrange an progress on the former, the latter required Newman for their excellent work in event for freelancers around the November close monitoring. The subcommittee had organising the conference. bookfair. continued to press for a reclassification of the subject throughout the bidding exercise FREELANCE GROUP Schools A call was made for school-based and the fiasco of its collapse. A questionnaire members to come forward to participate in had gone out on the state of departments, Register Meeting the subcommittee. They should contact data was being compiled on ERASMUS Howard Hollands, Middlesex Polytechnic, links with European Universities, Access Some 60 members of the Register came Bramley Road, Oakwood N14 4XS. The entrants and mature students. A useful heads to a meeting arranged to coincide with past year had been taken up with 1) London of departments meeting had taken place at the Book Fair on 9 November 1991 at and East Anglian Examination Board Art & Manchester. The new chair of the i Design Subject Panel, 2) Joint Matriculation subcommittee elected at the 1991 the National Gallery. Kathy Adler and Examination Board for Art & Design, 3) conference is Will Vaughan. Erika Langmuir very kindly agreed to University of London School Examinations address the meeting and made helpful comments in response to questions from Board Art Panel, 4) British School at Rome/ Museums & Galleries Two successful the floor. It was an opportunity for AAH Teachers Bursary, 5) National conferences had been held in the year "What freelancers to meet one another and to Research Conference in Art & Design shall we do with curators?" and exchange views, and it is hoped that Education Planning Group, 6) Two "Appearance. Opinion, Change". The latter other such occasions can be planned in responses to the National Curriculum attracted many conservators encouraging the future. Interim Report for Art. dialogue between the two groups. The 42 NEWS REPORT CLOSURE OF THE NATIONAL ART SLIDE LIBRARY AT THE VICTORIA AND ALBERT MUSEUM It is a matter of great concern that it was announced on 7 November that the NASL will be closed in April 1992 and will be PRESS RELEASE transferred to Leicester Polytechnic; it will re-open in September 1993. The matter was discussed at great length at the meeting of The National Art Slide Library, housed at difficulties for users of the Slide Library, the Executive of the AAH held on Friday 13 the Victoria and Albert Museum since 80% of whom have traditionally been December 1991. It was decided that: about 1898, though initially a staff regular personal callers. A new reliance resource, has for many years provided an upon a postal service will inevitably create 1. A letter of protest from Professor Martin invaluable publicly available source of problems for users, whether in terms of Kemp be sent to Elizabeth Esteve-Coll. slides for the teaching of art and design time taken to order or in reliability of 2. A press release should be written and history in London and the South East. It delivery. The Association of Art distributed without delay. (This is printed has provided a service to art historians Historians feels that the current proposal on this page in its entirety) from many areas: schools, A-level to close the National Art Slide Library 3. The Executive appointed a working party teaching, adult education, colleges and will inevitably damage the quality of art comprising Professor William Vaughan, polytechnics. The Association of Art and design history teaching, at a time (Chair of the Universities Sub• Historians is worried that the intended when demand for this is growing, both in committee), Mr Howard Hollands (Chair closure of the National Art Slide Library the further and continuing education of the Schools Sub-committee), Clare in London will have severely damaging fields and in schools, resulting from the Ford-Wille (Chair of the Freelance Sub- effects upon the teaching of art and design demands of the new National Curriculum. commitee), Dr Francis Ames-Lewis history at all levels in the region which The Association is forced to the (Birkbeck College) and Dr Deirdre the National Slide Library has hitherto conclusion that this withdrawal of an Robson. served. important educational service, at a time when the Victoria & Albert Museum is Members of the AAH are encouraged to It is understood that the National Art advertising Karaoke booths and massage write expressing their views and how they Slide Library will be closed completely chairs for New Year revellers, must call may be affected by the closure to the for a period of 18 months from April into question the Museum's commitment following people: Mrs Elizabeth Esteve- 1992, to re-open at Leicester Polytechnic to serious learning. The manner in which Coll, Victoria & Albert Museum, South in September 1993. This proposal causes the decision to close the Slide Library Kensington, London SW7 2RL; The Rt. grave concern for the situation of art and has been taken by the Victoria & Albert Hon. Kenneth Clarke MP Secretary of State design historians who are regular users of Museum, the secrecy and total lack of for Education; The Rt. Hon. Tim Renton the Slide Library during the period of consultation with users and with other MP Minister for the Arts; Toby Jessel MP total closure. Resources in the field of art interested parties, has led the Association (special responsibility for Heritage); Mark and design education are already of Art Historians to suspend its Fisher MP, Shadow Spokesperson for the considerably stretched in London and the participation in the Liaison Group set up Arts; Jack Straw MP, Shadow spokesperson Home Counties, and there are no readily between itself and the Victoria & Albert available alternative sources of slides in Museum until the Museum indicates that for Education. it takes the concerns about its plans Finally, the working party would be London which will be able to help those who have been regular users of the seriously. The Association hopes that a grateful for any comments that members solution to the problems caused by the may care to give so that these can be raised National Art Slide Library. The proposal to re-open the National Art Slide Library projected closure of the National Art at the meeting which is to be arranged with Slide Library can be solved satisfactorily. Mrs Esteve-Coll in the near future. Please in Leicester raises a number of long-term send these to Professor William Vaughan, Department of History of Art, Birkbeck College, 43 Gordon Square, London WC1H OPD. Clare Ford-Wille January 1992

43 OPEN FORUM

'The Gulfof Salerno' by Thomas Miles Richardson Junior (1813-1890)

—

9F, A5\W

Ml f

—

Conservation work is being carried out on of the buildings and costumes. A scribbled sketchbook, along with all his remaining the above drawing. It consists of pencil, pen note at the bottom reads 'move the goats'. works, was auctioned at Christies in 1890. and ink, watercolour and bodycolour By comparing this to other Italian views Does anyone know where the sketchbooks supported on very thin, brittle paper. The by Richardson it seems they were all cobbled are now? sheet measures 1076 by 513 mm and has together from sketches, some of which were been roughly extended using strips of paper used more than once. Figures in particular Please contact: Thomas Brain, MA at the left-hand side and along the bottom. reoccur in similar poses and in reverse. Conservation of Fine Art, Newcastle Figures have been cut out and stuck onto the Is Richardson's technique common Polytechnic, c/o Gateshead College, sheet after they were painted. Fingerprints practice for the 1850s? Does anyone know Durham Road, Gateshead, Tyne and Wear are visible in the pigment in the trees and of similar works by other artists which were NE9 5BN. Tel: (091) 4770524 ext2157. some of the shadows on the figures. Heavy used in preparation for exhibition white bodycolour has been applied to some watercolours? Richardson's first

Request for information

In order to pursue some of the issues raised 1. What was the title and subject area of the award of funds? in her article * Research across the Binary topic proposed for the award? 7. Was the application successful? If so, Divide' (Journal of Design History-, vol.4 2. What was the chronological period was an indication given of why this was no.4) Gillian Elinor would welcome covered by the topic? the case? responses from AAH members and other 3. What was the time-scale of the proposed 8. Was the application unsuccessful? If so, readers of the Bulletin. She would be research? were any reasons given for the lack of interested to have any comments on the 4. What was the projected outcome of the success? particular issues raised in the article; and proposed research? she would particularly welcome 5. What was the overall amount applied Any correspondence on this subject should observations and information from anyone for, and how and in what proportions, be addressed to: working in the fields of art and design and broadly, was this divided up (eg costs of Gillian Elinor, art and design history who has applied to obtaining material for research, Department of Art & Design, the British Academy (BA) or to the assistance with domestic or foreign Polytechnic of East London, Economic and Social Research Council travel, costs of preparation of material Greengate House, (ESRC) for a research grant at any time for publication such as copyright Greengate Street, during the last five years. Information on clearances)? London El3 0B9. any/all of the following points would be 6. What did you understand to be the criteria helpful: employed by the B A or the ESRC for the 44 SUB-COMMITTEES Polytechnic and Colleges Sub-Committee Report on the National Research Conference: Brighton: Saturday 7 December 1991 'Art and Design History in Higher Education'

This was the second seminar for Art and we seek to foster. students in order to enhance the climate Design Historians held on this theme in The seminar expressed concern about: for research in our sector. 1991, the first took place in June at the 1. growing isolation and the possibility of A further seminar is planned for Design Museum. The aim is to stress the a divide and rule approach, particularly May 1992. (Details will be circulated at the communality of Art and Design History where there is an absence of own degrees; Leeds Conference.) Interested parties can and to build a network to further a dialogue 2. modularity and its effects on subject contact Shirley Walker, the secretary to through the two professional bodies and identity; The Polytechnics and Colleges Sub- linked events. 3. resourcing: particularly in view of Committee, (tel: 071 790 1066; or Keith Both seminars have been concerned with increased student numbers and essay/ Bartlett, secretary to the Design History the changing structures in institutions caused thesis correction; Society, (tel: 0202 533011). by the demise of the CNAA. This has also 4. research: lack of funding/support for resulted in a break of communication which staff; the need for a network of research Monika Puloy

THE NICHOLAS CANN TRUST A SPONSORED SUMMER VISIT TO STUDY ART HISTORY

A charitable Trust is being set up in be Neil Macgregor, Director of the the payment be for £600 or more, please memory of Nicholas Cann, the art history National Gallery. The Trust will be consider using the Government's Gift teacher who died last July at the age of supported by the Arts Council and the Aid scheme which will allow the Trust 41. Nick took a degree in Classics at Association of Art Historians. to increase the value of your gift by one- Merton College, Oxford and an MA in Nick's family have made an initial third - if you write 'Gift Aid' on the art history at the Courtauld Institute. He substantial donation to the Trust, which reverse of your cheque and supply your lectured at Richmond College in London, is operating under the aegis of the address, a claim form will be sent to and his freelance career included work Charities Aid Foundation. An immediate you. For information about covenanting with Sir Ernst Gombrich. objective is to build up the capital sum please contact CAF. Please indicate if - The aim of the Trust is to encourage so that the Trust can make awards in the you would like to be put on the Trust's the study and appreciation of art history long term and to create additional prizes. mailing-list. by young people. It will make an award So if you know of a school pupil or of up to £1,000 each year to the most student who might like to apply, please For queries about the Trust, please deserving applicant to study an aspect let them know about the award. contact; (of the student's choice) of the history of Applicants do not necessarily have to be Paul Cann, art and architecture. It will be open to studying art history academically. 34 Poplar Road, anyone in the final academic year of Anyone wishing to make a donation Botley, secondary education. The application should kindly send a cheque to the Oxford, OX2 9LB process will be straightforward. Details Charities Aid Foundation, Foundation will be announced in early 1992. House, The Pantiles, Tunbridge Wells, or on 0865 724375 in the evenings and The award will be made by a panel, Kent TN2 5TZ made payable to 'CAF- at weekends. and the Chairman of the programme will account Nicholas Cann Trust'. Should

45 ANNOUNCEMENTS Art historians and British sources for slide buyers specialists in the UK

How good it was to see so many of you at Jenny Godfrey, a member of the Visual the American Slide Buyers Giude*. * the Art History Book Fair in November. No Resources Committee (VRC) of the Art If anyone has information on British doubt I would have seen many more of you Libraries Society (ARLIS UK & Eire) is sources for slide purchase not already listed on the Saturday of the Fair if I had not been collecting information on commercial in Slide Buyers Guide, could they please laid low with food poisoning by then. sources for Slide Buyers in the field of Art send it to: Jenny Godfrey, Slide Library, On the reception desk I had a number of and Design. H.T.A.D., Cardiff Institute of Higher copies of the directory of Art Historians and Libraries cannot now add any slides to Education, Faculty of Art & Design, Howard Specialists in the UK. First they checked to their collections, which have been made by Gardens, Cardiff CF2 ISP. Tel: (0222) see if they were included and if not they copy photographs from published material, 551111 x5577 enquired about how they could be included without first asking permission from rights When complete this information will be in the next edition. A number of them (both holders - a time-consuming and made available to libraries and slide libraries. those 'in' and those not) said that the cumbersome process. This is due to the questionnaire sent to them had been so restrictions within the Copyright Designs Slide Buyers Guide; an International poorly produced that they either hesitated and Patents Act of 1988. Directory of slide sources for Art & or decided not to respond. I thought this At the Forum on Copyright held by Architecture (6th edition) ed. Norine D. point important enough to take up with the ARLIS in Manchester in June 1991, it was Cashman 1990. Libraries unLimited publisher, Peter Marcan and I now quote suggested that the VRC should supplement ISBN 0-87287-797-3. extracts from his reply: the information available on the UK within "Yes, I know that my circular/ questionnaire didn't please everyone. I know the art profession generally probably would have respected something a bit more 'prestigious' looking. ... my financial The RIBA List of circumstances (create) the need to save Creativity money wherever possible. I even keep Recommended Books unfranked stamps, paper clips, wrapping and paper, string... Small specialist publishers 1991-92 like myself are trying to offer a 'service' Commerce rather than rake in money. The RIBA List of Recommended Books ... even academics for all their 1991-2 provides a general guide for 'omniscience' probably lump all publishers practitioners, students of architecture and The Queensberry Hunt Design together. Phillip Ward's book The Small librarians. It covers the best titles available Group are celebrating 25 years of Publisher, published by his Oleander Press on a wide range of subjects: management design and commercial success. some ten years ago, tries very hard to get the and practice; computers; draughtmanship; Queensberry Hunt were one of a record 'straight'." contract; building regulations; legal matters; first wave of about ten design This directory contains details of over construction; building materials and types; consultancies formed in the '50s 600 individuals involved professionally environmental engineering; conservation; and '60s; now they are just one with the study and documentation of the landscape: planning; architectural history; among many product design fine and applied arts. It has a strong and major architects and designers. The consultancies, but continue to bibliographical element, enabling one to introduction provides a guide to further sustain their individuality and trace many hard-to-find exhibition sources of information. success. catalogues as well as out of print books The List of Recommended Books is To mark 25 years of Queensberry published in some cases as long ago as the compiled and annually revised by the Hunt, a one-day conference to early 1950s. Details are also given of RIB A's Professional Literature Committee, examine the role of the designer in forthcoming books, or books in preparation. consisting of distinguished architects, the contemporary ceramics industry I am sure that such an enterprise must be architectural historians and educationalists. will be held on 28 February 1992 at welcomed by all art historians. It is a very Single copies of the RIBA List of the Victoria and Albert Museum. labour intensive task but one that I am sure Recommended Books can be obtained free we would all wish to encourage. Anyone of charge from the British Architectural wanting more details or to buy a copy (£25 Library, 66 Portland Place, London WIN + £1.50 p&p) should get in touch with me. 4AD or RIBA Publications Ltd. Finsbury Mission. Moreland Street. London EC IV 8 VB on receipt of an A4 stamped addressed Pamela Courtney envelope. 46 ANNOUNCEMENTS r HAVE YOU RENEWED YOUR SUBSCRIPTION?

Membership of the Association runs for the calendar year Overseas Members (all categories) (1st January to 31st December) and the 1992 rates are:- Europe £30 US A/Rest of World £34 ($70.00*) UK Ordinary Member £26 Student Membership with Art History- £21 (*Note: The dollar rate is not a straight translation from Student Member without Art History £5 sterling. We have to allow a small margin to cover air-mailing (Students please supply a photocopy of your student card) of the Bullet in and the extra bank charges we incur in connection Unwaged Member with Art History £21 with dollar cheques.) Unwaged Member without Art History £5 Will those paying by cheque please send their subscription (Unwaged members please supply photocopy of your UB40) to: Kate Woodhead. Dog and Partridge House, Byley, Cheshire Joint Members £30 CW10 9NJ. Life Member's subscription to Art History £ 16

STOP PRESS Details of those paying by standing order show that many members have not updated the amount to the current subscription rates. Please could you check your bank statement and if a balance is due, send your cheque to Kate Woodhead (with a request for a new standing order form if required). L J ADVERTISEMENTS

Friends of the Courtauld Institute THE BARBER INSTITUTE UNIVERSITY OF Bursary for teachers and BIRMINGHAM

museum curators In the John Bright column of the Birmingham Post of 20 September 1991 and the Diary column of The Times for 23 September 1991 it was reported that previous directors Two bursaries of £1200 are offered by the of the Barber Institute actively pursued a policy preventing Friends of the Courtauld Institute to teachers members of the public and children from viewing its collection causing "fifty years of damage". of the history of art, and to art museum

curators, employed in the UK, outside Greater The Birmingham Post and The Times have since London, to enable them to use the research established that their earlier reports were wrong and resources of the Institute and other facilities in have expressed their regret at the offence thus given to London for a period of two months. If the professional reputations of Mr Hamish Miles, the Director of the Barber Institute from 1970 to 1990, and of necessary, this may be split up into two or his predecessor, the late Sir Ellis Waterhouse, the Director three shorter periods. Applications outlining of the Barber Institute from 1952 to 1970. At the request candidates' research or cataloguing of Mr Hamish Miles in lieu of libel damages the programme should be sent to the Director, Birmingham Post and The Times have made a Courtauld Institute of Art, Somerset House, contribution to the National Art Collections Fund. Strand, London WC2R 0RN by 1 March 1992

47 EXECUTIVE COMMITTEE

Executive Committee 1991-1992

Chair: CHAIRS OF SUB-COMMITTEES Professor Martin Kemp University of St Andrews Schools sub-committee: St Andrews Howard Hollands KY16 9AL 16 Canonbury Road Tel: 0334 76161 Enfield Middlesex Hon.Treasurer: Dr Theo Cowdell Students sub-committee: 47 Kenwood Park Road Saul Peake Sheffield Keynes College S7 1NE University of Kent at Canterbury Tel: 0742 554099 Kent CT2 7NP

Hon.Secretary: Polytechnics sub-committee: Elizabeth Miller Monika Puloy Prints Drawings and Paintings Collection The Hertfordshire College of Art and Design Victoria andAlbert Museum 7 Hatfield Road South Kensington St Albans London SW7 2RL Herts Tel: 071 938 8612/8616 Tel: 0727 45544

Director of Publicity and Administration: Universities sub-committee: Kate Woodhead Professor Will Vaughan Dog and Partridge House Dept. of History of Art Byley Birkbeck College Cheshire CW10 9NJ 43 Gordon Square Tel: 060 684 5517 London WC1H 0PD Tel: 071 631 6127 Assistant Treasurer: Peter Crocker Museums and Galleries sub-committee: Editor of Art Histon". Dr Neil McWilliam Nicola Kalinsky 7A Chestnut Road Editor of Bulletin: Clare Pumfrey London SE2 9EZ

Elected 1989 Freelance art and design historians sub-committee Tag Gronberg Clare Ford-Wille Dr Nigel Llewellyn 1A Bowerdean Street Joanna Woodall London SW6 3TN

Elected/ co-opted 1990 Artists' Papers Register Lesley Kerman Dr Rowan Watson Liam Kelly Special Collections Sarat Maharaj National Art Library Victoria and Albert Museum Elected 1991 London SW7 2RL Fran Hannah Dr Deirdre Robson Leeds Conference Organisers [1992] Dr Charles Saumarez-Smith Dr Jonathan Harris Anthony Hughes

Designed and typeset by Kudos. Printed by The Wilson Press, Hassocks. ISSN 03079163

48