u tin 73 Association of For information on advertising, membership and distribution: February Art Historians Andrew Falconer, 70 Cowcross Street, London EC1M 6EJ; 2000 Registered Charity No. 282S79 Tel: 020 7490 3211; Fax: 020 7490 3277;
New Look - New Input?
n six years as Editor of Bulletin this is the first occasion Contents I on which I have felt moved to write an 'editorial'. I have hitherto adopted the role of facilitator, providing a means Benefits for members 2 by which AAH members can give voice to their opinions. It has gradually dawned on me, however, that maybe you all AGM Agenda 2 need a bit more encouragement in this regard! Launch of the Artists' Papers Register 3 Independents News 3 Gabriele Neher, the Associate Editor, and I felt that the Bulletin was in need of a revamp - both in terms of design Election of New Chair 3 and content. We hope you find the redesign both more AAH Annual Conference 4 visually arresting and easier to read and digest. Art Historians and Digital Images 13 While working on the redesign I leafed through back Students News 16 issues and realised that contributions from ordinary Annual reports 18 members have decreased substantially over the last few CIHA Conference 24 years, to the extent that the Bulletin has become primarily a vehicle for informing members about the actions of the Independents' Symposium 25 Executive Committee. While Bulletin will continue to feed Conference News 24 back to the membership the activities of the EC (see pages Executive Committee 28 18-23 for news of the various activities that have occupied the Executive in 1999), what Gabriele and I are really hoping for is to increase contributions from ordinary Photographs members of the AAH. The redesign of Bulletin has also allowed for the inclusion of more illustrations. We are seeking, in particular, One of the remits of the Association, when founded in volunteers (any photography students out there?) willing 1974, was 'to promote the study of art history and ensure to capture moments of the Edinburgh Annual Conference. wider public recognition of the field'. This has been Please contact Gabriele Neher in advance. addressed through the institution of the Annual continued on page 3 Conference and the publication of Art History and The Art Book, yet Gabriele and I feel strongly that the potential of The Old College at the University of Edinburgh, venue for Bulletin as a forum for discussion of the issues and this year's AAH Annual Conference. Full details on page 4. concerns of ordinary members has not yet been fully exploited. We are currently hatching plans to approach more people for conference reports and for contributions on specific topics which we will make the focus of each issue.
But why wait to be asked? We would much prefer people to volunteer.
Annual Conference It is a pity that those members who are unable to attend the annual conference are given so little idea of what actually goes on there. For the next issue of Bulletin, therefore, we warmly welcome reports on the Edinburgh Conference, including items on the plenary session, the special interest group meetings, the academic sessions and p visits. Anybody willing to write a short report on any aspect of the Annual Conference, should contact Gabriele Neher (see back page for details) as soon as possible. ANNOUNCEMENTS
Benefits for 26th Annual General Meeting 11.00 AM -1.00 PM SUNDAY 9 APRIL Members Appleton Tower, George Square, Edinburgh Concessionary rates of entry at: The AGM is open to all members, whether or not they are attending the • The Barbican Art Gallery Annual Conference. Please bring your membership card with you. The • The Hayward Gallery Minutes of the 25th AGM were printed in Bulletin 71, June 1999, pp 5-7. If • National Portrait Gallery you are unable to attend please complete the proxy form enclosed with • Royal Academy this issue of Bulletin and return it to the AAH Office by 28 March. • Tate Gallery • Whitechapel Gallery The reports from the Officers and Subcommittee Chairs are published on • Edinburgh City Art Centre pages 18-23 in order to give members the opportunity to read them in advance of the meeting. (Because the accounts cannot be audited in time for Journals: publication in this Bulletin, they will be posted up at the conference.) • 25% discount on The Art Newspaper-Tel: 0171 735 3331 Agenda Subscriptions Dept and quote 1. Apologies 'Association of Art Historians 2. Minutes of the 25th AGM in Southampton on 11 April 1999 Members' Discount' 3. Chair's Report • 20% discount on the normal 4. Membership Report from the Administrator subscription price of the Oxford Art 5. Honorary Secretary's Report Journal, The Journal of the History 6. Honorary Treasurer's Report. of Collections and International 7. Report from the Editor of Bulletin Journal of Cultural Property - 8. Report from the Editors of Art History OUP-Tel: 01865 267907 9. Report from the Editor of The Art Book
Reciprocal membership: 15% off membership off The Scottish Society for Art History. Contact Calling all Publishers, Booksellers, Graphics Suppliers Andrew Falconer for details. Sponsors needed for AAH Student Starter Pack Shopping: A 10% reduction on all purchases at The Starter Pack is a dossier containing current information about the AAH and Glasgow Museums and Galleries in particular the activities of the student community. It is sent to every new student member on joining the AAH. It thus coincides with an important first Hotels: stage of an art historian's involvement in his or her professional life. The Special rates and discounts of up to contents of the Starter Pack are kept up to date with news of forthcoming 40% at Thistle Hotels: conferences, exhibitions, funding tips, etc. The Starter Pack is the successful
(continued from page 1) the June issue on the theme of the non-profit-making events that may be CIHA Conference CIHA conference: 'Time. Art History of interest to other In addition to the Annual Conference for the Millennium'. Again, anyone members. There is in Edinburgh, the AAH is also wishing to contribute an article should no charge for this. involved in a major international contact Gabriele Neher. Gaby and I very conference in 2000. CIHA (Comite much look forward International d'Histoire de l'Art) will Research queries to hearing from you! hold its 30th International Congress Please remember that any AAH from 3-8 September 2000 in London. member is welcome to use Bulletin to JANNET KING We intend to run a series of articles in air research queries, or to announce Bulletin Editor NEWS REPORTS
Launch of the Artists' Papers Register
ollowing the publication of the Artists' Papers Register The reception provided an opportunity to celebrate a F on the World Wide Web (www.hmc.gov.uk/artists> as significant stage in the development of the Register, as well announced in Bulletin 72, p 23), the Register was formally as allowing many of those involved in the project to meet launched by Matthew Evans at a small reception held at colleagues and correspondents in the flesh. The Register is the Henry Moore Institute in Leeds on 7 December last very grateful to the Henry Moore Institute for hosting the year. The occasion celebrated the culmination of three event, and to the Association for funding the food and wine. years of intensive work assembling the data currently held on the Register and preparing it for publication, as well as RUPERT SHEPHERD a significant stage in the evolution of a project which has been running for over a dozen years.
Following welcoming speeches by the two hosts, Penelope Curtis (Director of Programmes at the Institute) and Toshio Watanabe, the database was launched by Matthew Evans, currently Chair of the Library and Information Commission (LIC). Mr Evans is also Chair-Designate of the Museums, Libraries and Archives Council — the new body which will be formed out of the LIC and the Museums and Galleries Commission in April this year, and which is charged with promoting the role of Museums, Libraries and Archives within society as a whole, and providing policy advice to the Government on relevant issues. As a result, Mr Evans took the opportunity to praise the Register's inter-disciplinary nature, taking research into the holdings of libraries and Matthew Evans, Penelope Curtis, Rupert Shepherd and archives and making it available to members of the Toshio Watanabe at the APR Launch museum and academic communities. He was particularly pleased to see the Register advertising archival material to Left: David a wider audience, as he felt that archives were still a Tomkins and significantly under-publicised and under-used resource. Robin Bourne, Project The speeches were concluded by Rupert Shepherd (Chair of Officers of the the Register), who emphasised the Association's long• APR, at the standing commitment to the Register, as well as expressing launch the Register's appreciation of all those people and institutions (too numerous to list here) whose involvement had led to the creation and launch of the Register. He also announced that the Tate Gallery had agreed to act as the host institution for the third phase of the project: listing the Photographs by holdings of repositories in Greater London. Andrew Falconer
Independents News Election of New Chair Symposium 2000 The Independents Subcommittee is planning a one-day Nominations are sought for a new Chair of symposium for September. See further details on page 25. the Association for the period 2001-2004. We are looking for your support, so please get in touch and register your interest. The election of the Chair will take place this year at the Edinburgh AGM in order to allow the new incumbent to Your concerns become familiar with the many strands of activity now The subcommittee would like to be able to represent your undertaken by the Association. interests on the Executive Committee, but to do this we need to know what you are most concerned about. Please Nominations should be submitted on the relevant form, contact us about any problems you have with regard to which is available from the Hon. Secretary. such matters as your status as independent employees short-term or occasional contracts, harassment by Nominations require the agreement of the nominee and institutional staff when you are guiding in galleries, the two nominators, all of whom must be members of the deleterious results upon employment and terms of Association of Art Historians. employment of volunteers, or any other matter which you think could be taken up by the subcommittee. The forms must be returned to the Hon. Secretary by Sunday 9 April (the date of the AGM at Edinburgh). Please contact either Deirdre Robson (Chair) on 0208 743 4697 or Catherine Parry-Wingfield on 0208 892 3908. PENNY MCCRACKEN Hon Secretary A. DEIRDRE ROBSON ANNUAL CONFERENCE Body and Soul exploring objects - making myths 26th A AH Annual Conference 6-9 April 2000 Department of Fine Art, The University of Edinburgh Association of in collaboration with Edinburgh College of Art Art Historians
Body and Soul will be the 26th annual conference of the Association of Art Historians. The conference theme is an imaginative prompt to debate about the physical and the ideal: its subtitle respects the object as site of craft, power and fantasy. Academic sessions will explore this theme across a range of periods, locations and methodologies, from medieval Islamic to contemporary British art.
Hosted by the University of Edinburgh and Edinburgh College of Art, and organised in partnership with the National Galleries and National Museums of Scotland, Body and Soul will offer delegates an opportunity to explore Edinburgh and its artistic and cultural resources - including the British Art Show which will open in the City during the conference - at this unique time in its history. Plenaries by Professor Tom Crow (Yale University) and Susan Hiller (artist), receptions in the National Gallery on the Mound and the new Museum of Scotland, the Art Book Fair, visits to the wealth of sites the City offers - both modern and ancient - and a conference dinner in the Neo-Classical splendour of the University's Playfair Library will complement the academic content of the conference.
Potential delegates should contact the AAH Administrator, Andrew Falconer. Other enquiries: Dr. Carol Richardson, Conference Administrator, Department of Fine Art, The University of Edinburgh, 19 George Square, Edinburgh EH8 9LD. Tel: 0131 650 4126; Fax: 0131 650 6638;
Scotching Myths: seeking the soul of Rosemary Addison (Edinburgh College of Art): Spirited Scottish Design activity: women and illustration in Scottish books Elizabeth Cumming (Edinburgh College of Art): Soul and Convenor: Elizabeth Cumming, Edinburgh College of Art body: imagining and imaging in art and design How should we define modern design from the land of Jane Lindsey (former curator, Hunterian Art Gallery, tartan, thistle shortbread and Edinburgh Crystal? As University of Glasgow): A Tale of Two Tea Rooms: gender, Scots construct new identities in the arts, it is appropriate commerce and classicism to assess the nature of design manufactured either for internal or external consumption since 1850. This session Annette Carruthers (University of St Andrews): Two seeks to examine the extent to which design by Scots, for holiday houses in North Britain instance, may differ essentially from English design for a Scottish clientele, and it assesses the nature of a changing Juliette MacDonald (University of St Andrews): 'Let us and challenging cultural dialogue with England. now praise the name of famous men: myth and meaning in the stained glass of the Scottish National War Memorial A rich language of form, technique and philosophy covering both product design and the crafts is found along this theoretical journey. The country may have led the Tanya Harrod (Independent craft historian, London): world in industrial and engineering design and Braiding: the crafts in Scotland in the twentieth century manufacture, but equally strong has been a sense of the imagination. Important, also, has been cultural exchange Jillian Cassidy (University of Canterbury, Christchurch, with other countries. The construction of a craft movement New Zealand): The Edinburgh Tapestry Company : The from the late 1890s was inspired as much by English as by Dovecot Studios indigenous philosophy and national aesthetics. Equally, designers adopted European concepts, such as Symbolism Christine Rew (Aberdeen Art Gallery and Museums): The and romantic nationalism, for their own causes. Gleam in the North: traditional and contemporary Modernism, on the other hand, again encouraged silver smithing in Scotland inventive Scottish designers to export their ideas, and to contribute to the international market. The craft revival of David Gerrard (Gerrard & Medd, Designers, Edinburgh): the post-war period again was a reflection of renewed The Invisible Designer international exchange which is present today across the design spectrum. Richard Carr (Duncan of Jordanstone College of Art): The myths of Scottish design Janice Helland (Queen's University, Kingston, Ontario, Canada): 'Quaint and curious': Scottish textiles at Turin, 1902 ANNUAL CONFERENCE
Embodying the Nation: ethnic landscapes, language of symbols and allegory which spread throughout myths and mother-figures Europe, the culture of symbolic images shared by artists, patrons and, from Andrea Alciati onwards, by men of Convenors: Tricia Cusack, University of Birmingham letters, as well as the context in which the use of emblems developed. Sighle Bhreathnach-Lynch, National Gallery of Ireland A whole 'literature of images' developed during the The nation, and nationalism, are abstract concepts that sixteenth and seventeenth centuries around the central have to be 'embodied' in ways that make them imaginable, problem of the relationship between image and meaning, especially through the means of art and literature. The exploring the ways in which the latter in conveyed. A nation is spoken of as having a 'soul' and this is sought in number of contributions will analyse this literature of a mythical 'ethnic past', constantly re-presented to the images' - the treatises by mythographers and iconologists, nation. Nationalist ideology is more or less gendered and such as Pierio Valeriano, Paolo Giovio, Vincenzo Cartari. this too is constructed through its specific 'embodiments'. Cesare Ripa and others, as well as the writings and works This session explores how nations and their histories are of artists such as Giorgio Vasari and Jacopo Zucchi. mediated through images and narratives of mother- Together with the more theoretical concerns outlined figures, folk-heroes, monuments or landscape, that help to above, papers exploring the use and significance of devices 'concretise' the idea of the nation, but also support (imprese) on clothes, jewellery, in the decoration of particular gender ideologies. interiors, in ephemeral apparati, as book illustrations, etc, throughout Europe from the fifteenth to the seventeenth century will also be an important aspect of this session. Anne Helmreich (Texas Christian University): Domesticating Britannia and the Disintegration of Patriarchy: Representations of the Nation in Punch, Judi Loach (University of Wales, Cardiff): Body and Soul: 1870-1880 A Transfer of Theological Terminology into the Aesthetic Realm Paula Murphy (University College Dublin): Patriot, Peasant and Prostitute: Nineteenth Century Images of Donato Mansueto (University of Bari, Italy): The Ireland Impossible Proportion. Body and Soul in some Italian Impresa Theorists Murdo Macdonald (University of Dundee): 'Anima Celtica': Embodying the Soul of the Nation in 1890s Edinburgh Elena de Luca (University of East Anglia): Silent Meanings: Emblems, Lay Culture and Political Awareness Renate Dohmen (Goldsmiths' College, University of in Sixteenth-Century Bologna London): Femininity and the Nation: From Housework to Authentic 'Indianness': Southern Indian Threshold Designs Margit Thofner (University of Bristol): I sought my Re-imaged beloved...: Teresian Mysticism and Otto van Veen's Amoris divini emblemata John Turpin (National College of Art and Design, Dublin): Representing Catholicism as National Identity in the Irish Alison Saunders (University of Aberdeen): Who needs Free State words? Alciato as a Model for Artists and Craftsmen
Deborah Ascher-Barnstone (Washington State University): Michael Bath (University of Strathclyde): Paradin in Embodying the German Nation after 1945: Using Proportion: Scottish Application of the Devises heroiques Architecture to Create a New National Identity in Postwar Germany Claire Pace (University of Glasgow): Symbolic Images and Allegorical Engravings in G. P. Bellori's Lives of the Christine Conley (York University, Toronto): 'True Patriot Painters (1672) Love': Joyce Wieland's Canada Susan Sire (University of Glasgow): Body and Soul: Hilary Robinson (University of Ulster at Belfast): Caspar David Friedrich's 'Chalk Cliffs on Riigen' and Retraversing Women's Genealogies in Ireland: An Hugo's Pia Desideria emblems - sacred models for the Irigarayan Reading of Some Recent Artworks battle between the flesh and the spirit in a symbolic Representing the Mother-Daughter Couple landscape
The Heart of the Matter A Perfect Emblem: The Right Proportion of 'Body and Soul' Convenor: Nicola Kalinsky, Scottish National Portrait Gallery Convenor: Alison Adams, Centre for Emblem Studies, University of Glasgow A session with two inter-related foci, including papers analysing the varying values assigned to material culture Paolo Giovio, in his Dialogo dell'Imprese Militari et by philosophical theories and, conversely, the spiritual Amorose written in 1551, explains that the emblem is meanings assigned by makers, patrons and critics to art formed by image and motto, 'body' and 'soul', balanced in objects. perfect proportions. The emblem makes it possible to express a concept which cannot be conveyed with words or Tarnya Cooper (University College London/University of images alone. The papers in this session will explore the Sussex): The Soulful Portraits of Early Modern England ANNUAL CONFERENCE
Valerie Mainz (University of Leeds): Rembrandt and Exploring Objects - Making Myths Jewish History (The National Museum of Scotland Session)
Amy Sargeant (University of Plymouth): Gondoin's School Convenor: Godfrey Evans, National Museums of of Surgery Scotland
J. Craig Stirling: Mens sana incorpore sano: Robert Tait The papers in this session will examine a diverse range of Mckenzie (1867-1938) physician, pioneer of physical items of decorative and applied art. The focus will be on education and sculptor Scottish or Scottish-related work, and in particular on objects in the New Museum of Scotland. Jeanne Cannizzo (University of Edinburgh): Bar Room Hero David H.Caldwell: The Monymusk Reliquary and the Brecbennoch of St Columba Dr Martha Ioannidou (Aristotle University of Thessaloniki): From Sweet to Salty Hugh Cheape: From natural to supernatural: Charms and Amulets in the National Museums of Scotland
The Erotic Eye George Dalgleish: Jacobite Relics: Myths and Realities
Convenor: Alyce Mahon, Winchester School of Art, Naomi Tarrant: Some Jacobite Relics and Commemorative University of Southampton Textiles in the National Museums of Scotland
This session will explore the erotic and pornographic body Godfrey Evans: The Other Face of the 10th Duke of and the role of 'profane illumination' in Western art. Hamilton: The Lost Silver Centrepiece of 1849 Aspects of the session will engage with the tensions between Eros and Thanatos; enlightenment and decadence; transcendence and transgression; eroticism Sacred and Profane in Titian and 'high-class porn'. Convenor: Prof Peter Humfrey, University of St Andrews Genevieve Warwick (University of Glasgow): Caravaggio's (Homo)Erotics An inter-relatedness of body and soul is central to Titian's pictorial vision. His activity as a painter of sacred subjects Nicolas Flynn (Manchester Metropolitan University): The lends a spiritual dimension to the profane, while his Rokeby Venus involvement with the profane lends a sensuous vitality to his treatment of the sacred. The session will explore the David C. Ogawa (Union College, New York): Corot, relationship in his art between spirit and matter, and also Painting and Pornography in the Sexy Sixties his power to express this through an unparalleled mastery of the technique of oil painting. The art of Titian is central Patrick Shaw Cable (Case Western Reserve University): to the session, but aspects of his relations with his Homoerotic tensions in the art of Gustave Caillebotte contemporaries will also be considered.
Prof Sue Anne Prince (University of Pennsylvania): From Prof John Steer (formerly Birkbeck College, London): Illicit to Licit: Purifying Desire in Cezanne's Male Bathers Titian and the landscape of the Veneto
Christopher Short (University of Wales Institute, Cardiff): Mauro Lucco (University of Bologna): Titian from the Egon Schiele and the loss of self-identity Fondaco de'Tedeschi to the Assunta: a new look
Marko Daniel (University of Southampton): Ignacio Philip Cottrell (University of St Andrews): 'Et in Arcadia Zuloaga: the erotic image of Spain Ego': Titian and the invention of the pastoral Sacra Conversazione James Hall (Independent): Blind Faces and Sighted Bodies: a Modern Erotic Joanna Kilian (National Museum, Warsaw): Titian's Concert Champetre: the courtly return to nature Julia Kelly (Courtauld Institute of Art): The Sphinx in the Street: the place of prostitution in Surrealist thought Jean Habert (Louvre, Paris): The so-called Pardo Venus
Raymond Spiteri (University of Western Australia): L'oeil Jozef Grabski (Artibus et Historiae): lVicioria Amoris': sans yeux: Envisioning Surrealism in Bataille's Histoire de Titian's Venus of Urbino I'oeil and Max Ernst's La Femme 100 tetes Gabriele Neher (University of Nottingham): Titian's Robert Short (University of East Anglia): Hans Bellmer - Resurrection polyptyels and the painters of Brescia between Breton and Bataille Mary Rogers (University of Bristol): Animal bodies and Elaine O'Brien (California State University): Julia human souls?: Man and Beast in Titian Couzens: Melusine after the Cry John Dick (formerly National Galleries of Scotland): The conservation of the Edinburgh Titians Sylvia Ferino (Kunsthistorisches Museum, Vienna): The Alec Finlay (artist and publisher): The Event: The Book in conservation of the Vienna Titians Hand - Imaginations for a Non-Material World
Daniela Bohde (University of Frankfurt): Light, matter Dianne King (Edinburgh College of Art: Spirit of the and colour in Titians S.Salvador Annunciation and Garden, Body of the City: Ian Hamilton Finlay's Naples Dana'e Edinburgh Projects
Patricia Meilman (American University, Washington DC) Brotherly Love: Titian's Virgin and Child with Ss Titian Clothing/Enclosing. Disclosing the Body and Andrew c.1200-1550
Convenors: Louise Bourdua, University of Aberdeen Body and Soul in Contemporary British Dr Anne Dunlop, Concordia University Art In the last decade there has been an important re- Convenor: Dianne King, Edinburgh College of Art evaluation of the religious and social significance of the body in the later Middle Ages and early Renaissance, To explore issues relating to both body and soul in while the fate of the individual soul has long been contemporary British art, the papers in the session are considered a central concern of medieval Christianity. As arranged under three overlapping themes: Caroline Walker Bynum has argued, late medieval piety 1. Loss/mortality: death, loss and redemption appear emphasised the body as the locus of the sacred,' and body- frequently as concerns in current British art, in the centred rituals and representations abound: saints are work of YBAs such as Tracey Emin as well as in that of shown kissing the pustulent sores of lepers or spitting into more mature artists such as John Stezaker; the mouths of others to effect cures, virgins lactate, 2. The body as site of collective memory: the relationship soldiers kiss in peace, and Christ feeds the faithful on His between material and mental constructs, the reading of own flesh and blood. personal and collective experience into objects and images, how identity is constructed and viewed; With this in mind, this session focuses on the sacred and 3. The spirit of place: issues of Utopian space and cultural the social body in the visual culture of late-medieval and identity are exemplified in various forms of early-modern Europe. It seeks to address how the body contemporary public art. and the soul were represented and imagined, particularly in light of recent work on gender and representation in Speakers include artists, curators, writers and historians. this period.
Andrew Patrizio (Edinburgh College of Art): The Phantom Rosemary Drage Hale (Concordia University, Montreal): Limb: Medicine, Art and Amputated Past Bearing Jesus/Baring the Soul: Transformative Performances of Mother Mysticism John Stezaker (Royal College of Art): The Body's Surface, The Soul's Depth Cordelia Warr (Queen's University, Belfast): 'Naked and Ye Clothed Me'- Visionary Experiences of Clothing Sean Cubitt: David Connearn's Bicycle:pagany, information and Utopia Adrian W.B. Randolph (Dartmouth College, NH): The digitus medicinalis, the Virgin Mary, and Wedding Bands Patricia Macdonald (artist-photographer): Change of State: in Fifteenth-Century Italy transformation and the emerging organicist paradigm Malcolm Stewart (University of Aberdeen): Body and Soul Lynda Morris (Norwich School of Art): Drinking with in Pollaiuolo's Battle of the Nude Men and Michelangelo's Gilbert & George Battle of Cascina
Fran Lloyd ( Kingston University): Skins, Surfaces and Elizabeth Hallam (University of Aberdeen): Speaking to Shifting Boundaries: Performing the Body in British Reveal: The Body and Acts of 'Exposure' in Early Modern Object Sculpture of the late 70s Popular Discourse
Nedira Yakir (Falmouth College of Art): Absent Bodies and Evelyn Welch (University of Sussex): Masking identity. Identity Positioning in the art of W. Barns-Graham and Disguise and Deceit in Renaissance Italy M.Mellis
Kerstin Mey (Duncan of Jordanstone College of Art): Only Depicted Bodies and Present Souls? over her living body: on the work of Sarah Lucas and Tracey Emin Convenors: Rupert Shepherd, Independent Robert Maniura, Courtauld Institute Sue Malvern (University of Reading): Anti-Bodies: Rachael More information at
7 ANNUAL CONFERENCE them. Papers cover the fullest possible chronological and Christiana Payne (Oxford Brookes University): Our English subject range, including non-western art. Contributors Coasts: the Symbolism of Sea and Shore in Nineteenth address these issues from various directions, for example Century British Art literary sources, the uses and abuses of images, or the responses invited by the images themselves. Juliee Decker (Case Western Reserve University): A Useful Change of Subject': Constable's Views of Brighton Hellmut Wohl (Boston University): Image and Prototype: iconoclasm and anti-iconoclasm in 8th and 9th century Mark Souness (University of Herfordshire): Courbet and the Byzantium Art of Biology
James Hall: Desire and Disgust: touching artworks from Laine Nyden (Indiana University): Modern Leisure and 1500 to 1800 Rural Utopia: Czech Landscape in Transition
Bridget Heal (Courtauld Institute of Art): Images of the Michelle Facos (Indiana University): Cleansing the Body Virgin Mary in Post-Reformation Germany and Soul: Bathing in Turn of the Century Sweden
Alexander Nagel (University of Toronto): Real Presence as Shelley Cordulack (Millikin University): Searching for the Antidote: early modern reassessments of the power of images Soul: Physiology and the Landscape in Edvard Munch's 'Frieze of Life" Kate Bomford (Courtauld Institute of Art) Voice, Breath and Spirit in Rubens' Portraits of Humanists Wessel Krul, (University of Groningen): Early Mondrian in Context: From Natural to Urban Utopia John Nash (University of Essex) TJie Representation of 'Soul' by Rembrandt Michael Zimmermann (Zentralinstitut fuer Kunstgeschichte): Boccioni's Futurist Visions of Gert Fischer (Institut fur Kunstgeschichte, Universitat Motherhood: Myth and Ideology of Nature Munchen): Presence of Divinity: Poussin's Conception of Figures and the Depiction of Mythical Nature The Body and Soul of Nation? Making Erika Naginski (Harvard University): TJie Object of Contempt: picturing collective redress in the 1790s cultural identities 1707 to the present Convenors: Professor Dana Arnold, University of Michael Leja (Massachussets Institute of Technology): Southampton; Stephen Lloyd, Scottish National Portrait Realism and the Deceived Viewer Gallery
David Freedberg, to be announced The need for a single public culture — the creation of an authentic identity - is fundamental to our Andrew Harrison (University of Bristol): A General understanding of nationalism and nationhood. How are Tlieoretical Account of Presence body and soul' expressed in these manufactured cultural identities? And what is the role of the Michael Podro: Recognition and Belief individual within these frameworks?
This session considers these questions in relation to Training the Body and Soothing the Soul: imperial, colonial and post-colonial national identities The Search for Nature in the 19th Century which promoted the idea of a nation which encompassed the doctrine of popular freedom and liberty from Convenors: Michelle Facos, Indiana University external constraint. Wessel Krul, Rijksuniversiteit Groningen Particular attention is paid to the political and social During the 19th century, landscape assumed contexts of national identities within the British Isles; unprecedented significance as a flexible site for the the export, adoption and creation of new identities in projection of ideas and myths about the relationship the colonial and post-colonial world and the role of between nature and culture. Economics, hygienic concerns, gender in the forging of national identity. These nationalism, and nostalgia were among the factors elements combine to show that nationhood and influencing the conception and interpretation of landscape. nationalism are self consciously defined tools to focus Outdoor activities had different meanings according to the loyalty and are part of the larger process of making social background, intellectual position, and gender of the cultural identities. viewer. Furthermore, the constructed landscapes in which these activities took place operated as systems of signs Stana Nenadic (University of Edinburgh): Wrong and presuming a certain degree of cultural literacy on the part Un-Romantic? The Rise and Fall of Ossian in the of their intended audiences, who were presumed to share a Making of Scotland's Cutltural Identity common milieu. This milieu may have included cultural traditions, historical events, class markers, or familiarity Joan Coutu (Univerisity of Waterloo, Canada): A Noble with the geography depicted. Youthful Death: the Monument to Major General James Wolfe in Westminster Abbey Papers are included which explore the landscape a as place of physical conditioning and spiritual sustenance. ANNUAL CONFERENCE
Fintan Cullen (University of Nottingham): Union and Michael Hatt (Birkbeck College, University of London): Display in 19th-century Ireland Art, Athletics and Homosexuality in Late-Nineteenth- Century Britain Stephen Lloyd (Scottish National Portrait Gallery): Henry Raeburn's Studio and the Formation of the Prof Anthea Callen (De Montfort University): Dr Paul Scottish Academy Richer: Anatomy, Anthropology and Healthy Masculinity Jos Hackforth-Jones (Richmond University): (Re) forming National Indentities in Old and New Worlds Victoria Ryan (University of New South Wales): Physical Culture and the Texture of the Soul: The Sophia Chambre (University of Southampton): The Medical Pedagogy of Australian Nationhood Country House is Just like a Flag: Building identities in Ireland c1800-1840 Gabriel Koureas (Birkbeck College, University of London): Unconquerable manhood: Memory, Prof Dana Arnold (University of Southampton): (Trans)- Bereavement and Masculinity in the period 1910-1925 planting Identity: The Phoenix Park, Dublin 1830-1850 and the National Politics of Urban Landscapes Claudine Mitchell (University of Leeds): Style/Ecriture: The Body Beautiful, Women, Sculptural Practice and John Gifford (Historic Buildings of Scotland): The Pre-First War Feminism National Monument of Scotland Fay Brauer (University of New South Wales): Les Andrew Ballantyne, (University of Newcastle): Ruins of Reines de la Force': Women Bodybuilders, Physical Ancient Virtue: Aesthetic Theory and the Construction of Culture and National Regeneration National Identity in the 'Wild Irish Girl and Sybil' Angela Maria Opel (University of Trier): Race-Biology, Frederick N Bohrer (Hood College, USA): Monumental Sports Photography and The Sachliche Body Nationalism: Layard's Nineveh and British National Identity Pat Simpson (University of Hertfordshire): Parading Myths: Imaging New Soviet (Wo)man on Fizkulturnik's Helen Smailes (National Gallery of Scotland): Statues of Day, July 1944 Liberty? The Sculptural Commemoration of William Wallace Nedira Yakir (Falmouth College of Arts): Self-imposed and Life-saving Body Modifications in the Art of Orlan Fiona Pearson (Scottish National Gallery of Modern and Shuli Nachson Art): The Heart of a Nation: The Reliefs on the Scottish War Memorial Royce W. Smith (University of Queensland/Purdue University): 'How Do You Wear Your Illness?': Performativity of the Body, HIV and the Aesthetics of Building the Body Beautiful Beauty
Convenors: Fay Brauer, The University of New South Wales; Michael Hatt, University of Warwick Body and Soul in the Middle Ages: Death and Burial, Commemoration and Display From the turn of this century until the Second World War, national revitalisation was vigorously pursued in England c. 1200-1500 and Scotland, France and Germany, America and Convenor: BA Williamson, University of Bristol Australia through modern sports, gymnastics and body building. Across physical culture schools and journals, sporting stadiums and newspapers, art studios, academies, Papers explore two related areas: magazines and books, health and hygiene, muscular 1. The visual and material culture relating to death, development and physical strength defined the beautiful burial and commemoration, including the choice of body in twentieth-century modernity. While identified as a location for burial, the foundation and decoration of new classical anatomy in art and popular culture, this burial chapels and mausolea, chantries and chantry body was also celebrated as ripe for genetically chapels, tomb design and decoration, and regenerating civilised nations — if not western races. commemorative images and objects. Papers explore connections between health and beauty 2. The cult of saints, including buildings, images and through cultural representations of modern sport, objects connected with the shrines of saints and their physical culture and body building. They range from the relics, and with the commemoration or promotion of photography of bodybuilders to sculpture of the Aryan saintly individuals. body in the Third Reich. These two areas elicit discussion of whether holy and 'ordinary' bodies are always treated differently, or whether there are many links between the treatment of the two Andrew Stephenson (University of East London): John groups. One of the aims of the session is to compare Singer Sargent and the fashioning of Anglo practices north and south of the Alps. Performativity Donal Cooper (Courtauld Institute, London): Founders and Prof Kirby Gookin (New York University): Eugenics and Followers I: the burial and commemoration of santi and the Aesthetics of Ideal Beauty beati among the Franciscans of central Italy ANNUAL CONFERENCE
Joanna Cannon (Courtauld Institute, London): Founders David Trotman (Sotheby's Institute, London ): David Wilkie's and Followers II: the burial and commemoration of santi Image of Spain and beati among the Dominicans of central Italy Hugh Brigstocke (Independent art historian ): The 19th- Matthew Clear (University of Sussex): Sancia of Majorca century rediscovery of Velazquez and Las Meninas and the Angeuins of Naples David Howarth ( Department of Fine Art,University of Anne Derbes and Mark Sandona (Hood College): Conversion Edinburgh ): Lord Napier as a critic of Spanish painting and Redemption in the Burial Space of Enrico Scrovegni: reconsidering the role of the Virgin in the program of the Zahira Veliz (Independent art historian and paintings Arena Chapel in Padua restorer ): Velazquez' Lady with a Fan in the Wallace Collection; A reappraisal Laura Jacobus (Birkbeck College, London): Individual and Familial Commemoration in the Arena Chapel, Padua Gabriele Finaldi ( National Gallery, London ): WJiat did people think of Zurbaran in the nineteenth century? Jenny Edes-Pierotti (Columbia University): Disappearing the Deposed: Post-mortem Representations of Edward II, Sarah Symmons Goubert (University of Essex): The Spanish Richard II and Henry VI Diary of Enid Layard 1869-1877
Julia Watson (British Library): Text and Tomb: Margaret MacDonald ( Centre for Whistler Studies, Documentary Evidence for Tomb Design in late Fourteenth- University of Glasgow ): Why bring in Velazquez ? Century France
Richard Marks (Centre for Medieval Studies, University of The Spirit of the City in the Twentieth York): 'Entumbid Right Princely': The Beauchamp chapel at Century Warwick and the Politics of Interment Convenor: Prof lain Boyd Whyte, University of Edinburgh Stacy Boldrick (Henry Moore Institute, Leeds): Sculpture and Dwelling inside Liiicoln Cathedral At its founding meeting in 1928, Congres Internationaux d'Architecture Moderne (CIAM), led by Le Corbusier and Sophie Oosterwijk (University of Leicester): The Perfect Age? Sigfried Giedion, defined the future business of architecture Medieval Child Effigies in North-Western Europe under six headings: Modern technology and its consequences; Standardization; Economy; Urbanism; Education; Realisation: Carol Richardson (University of Edinburgh): Cardinals' Architecture and the state. Architecture as a cultural act, as Tombs and Papal Control over the Old and New St Peter's understood and defined from Vitruvius on, was rejected in an act of vigorous iconoclasm, and the goals of the modernist architect were sought in the realms of the engineer and the The Spirit of Spain; exploration of myth and technologist. This polemic decision to confine architecture and strategies of interpretation 1600-1900 urban design within a small number of over-simple parameters was soon seen as a serious error. Only seven years Convenor: David Howarth, University of Edinburgh later, in 1935, Walter Gropius was complaining bitterly that the initial, idealist aims of the modern movement had been This session will consider how Iberian culture was lost and had been submerged under the simplistic formulae of presented to a European and American audience in the functionalism. That is why', he wrote in The New Architecture period c. 1750-1900, and what strategies were adopted to and the Bauhaus, 'the movement must be purged from within make the art and culture of the Peninsula accessible. It is if its original aims are to be saved and the straitjacket of possible to define ways in which historians, travellers, materialism and false slogans inspired by plagiarism or misconception. Catch-phrases like "functionalism" (die neue artists and literati struggled to make sense of the Sachlichkeit) and "fitness for purpose = beauty" have had the unfamiliar, either through modification or imposition of the effect of deflecting appreciation of the New Architecture into template adopted by the Grand Tourist in Italy. external channels or making it purely one-sided.' The standard histories that defined the Modern Movement were Another question is how the Victorians perceived the so unwilling to accept that the reductivist arguments of the late called 'golden age of Spain'; an epithet which begs many 1920s were a strategic error that had lasting and negative questions. What sort of dialogue was maintained between consequences for the definition and perception of modernist American and British writers in relation to Iberia in this architecture. Paradoxically, the postmodern critics of the period? Did the two prisms apparently refract different 1980s, while damming modernist architecture and urbanism emphases and how closely did Americans like Irving and as the Victory [of] the square, the crate, the box - the Prescott influence their British counterparts and vice-versa? multipurpose case as universal packaging,' (Klotz) or as 'a Protestant Reformation putting faith in the liberating aspects Jeremy Robbins (Department of Hispanic Studies, of industrialisation and mass-democracy,' led by the likes of University of Edinburgh ): Court Aesthetics in the Reign of 'John Calvin Corbusier', 'Martin Luther Gropius', and 'John Philip TV: Court Drama and Reflective Imagery Knox van der Rohe' (Jencks), the prophets of Postmodernism invoked a history that was itself equally reductionist and Xanthe Brooke (Walker Art Gallery, Liverpool): From banal. The modernist impulse in both architecture and urchins to cherubs: collecting Murillo's art in England and urbanism was more complex that either Pevsner or Jencks Wales 1650s-1850s would admit. As Adorno and Horheimer have shown, myth.
10 history and spirituality on one hand, and instrumental considering Bacon's affinities or influence seem to require reason, order and functionalism on the other need not be more searching scrutiny: the image of the body, understood as mutually hostile, but as essential Existentialism, the School of London, gay identity, the complements to each other. This session investigates those history of photography, film etc. The session includes spiritual and cultural ambitions of twentieth century reinterpretations of Bacon's work, and of the diverse ways architecture and urbanism that have been suppressed by in which his art has been understood and appropriated the histories, both modernist and postmodernist. within the artistic practice, criticism and theory of the latter half of the twentieth century. Volker Welter (University of Edinburgh): 'Genius loci - locus genii: Embracing the Spirit of the City Andrew Brighton (Tate Gallery, London): Bacon and Original Sin: the de Maistres Roy and Joseph Prof Esther da Coster Meyer (Princeton University): Of Time and Space: Urban Pathologies and the Emergence of Professor Andrew Causey (University of Manchester): the Nineteenth-Century Metropolis Bacon and the Primitive in the 1940s
Stephen Kite (University of Newcastle): The 'Tension of Martin Hammer (University of Edinburgh): Bacon and Outwardness': Wall-face and Meaning in the City Graham Sutherland in the mid 1940s
Helen Shiner (Independent): Embodying the Spirit of the Brian Hatton (Royal College of Art): Trait and Trace: Metropolis: the Warenhaus Wertheim, Berlin, 1896-1905 Design and Violence in Bacon's Scenes
Helge David (Independent, Bonn): August Endell and 'The David Mellor (University of Sussex): Phantom Africa: Beauty of the Great City' Bacon's Over-Drawing of Michel Lieris' 'L'Afrique Fantome'
Dagmar Motycka Weston (University of Edinburgh): The Simon Ofield (Middlesex University): Wrestling with Lantern and the Glass: The Object and Le Corbusier's Francis Bacon Poetics of Dwelling Richard Calvocoressi (Scottish National Gallery of Modern Prof Rhodi Windsor-Liscombe (University of British Art): Bacon and the School of London Columbia): 'Cities more fair to become the dwelling place of Thy children' - Transcendent Modernity in British Urban Prof Jean Duffy (University of Edinburgh): Losing the Plot: Reconstruction the Subversion of Narrative in Francis Bacon and Claude Simon Robert Barnstone (Washington State University): W.M. Dudok and the Iconic Statement in Urban Space SKIN Rob Stone (Goldsmiths College, London): Rood Privet: Transubstantiation and the Integrity of the Body in 1930s Convenors: Tamar Garb and Briony Fer, University British Urbanism College London
Marlite Halbertsma (Erasmus Universiteit Rotterdam): This session explores issues of skin and subjectivity as it is Body and Soul of a Modernist City: Conflicting Identities in be articulated on the site of the image. This includes the Representation of Rotterdam 1940-1990 discussions of skin and painting, the painting of skin, temporality and skin, sexuality and skin, pigmentation, Clive Fenton (University of Edinburgh): The Basil Spence coloration, surface, surrounding, breaching of borders, Plan for the University of Edinburgh literally or metaphorically, boundaries of self and other, porosity and impermeability. Papers cover historical and John Macarthur (University of Queensland): From the Air: contemporary subjects that show an interest in theorising The Sovereignty of Sight and Picturesque Urbanism skin and its relationship to representation.
Tamar Garb (University College London): Surverying Skin The Death of the Soul: Art in the Age of Francis Bacon Ewa Lajer Burcharth (Harvard University): Lyotard, or skin without touch Convenor: Martin Hammer, University of Edinburgh Angela Rosenthal (Dartmouth College): Rising Colour: The During his lifetime and since, the art of Francis Bacon has Legibility of racial difference in 18th-century visual culture been highly visible and esteemed, but the literature remains repetitive and limited in its perspectives. The aim of this Satish Padiyar (University College London): Sculpture and session to bring together new ways of thinking about Skin: Canova's surfaces and Kantian space in early 19th- Bacon's work and its place within the wider culture of the century France second half of the twentieth-century, both in Britain and internationally. Contributors may wish to focus on Tod Porterfield (Princeton): Josephine's Painted Face and individual works by Bacon, on the relationship between the Maquillage Revolutionnaire practice and his articulated ideas, or on lines of interpretation which illuminate some particular theme, Mechthild Fend (Graduiertenkolleg Psychische Energien tendency or phase in his work. Several contexts for bildender Kunst, Frankfurt/Main): Skin: Interior and exterior in Ingres'portraits and 19th-century anatomical texts
11 ANNUAL CONFERENCE
Caroline Arscott (Courtauld Institute) To be announced The Body Politic: Sculpted Images of the
Steve Connor (Birkbeck College, University of London): ruler from the Middle Ages to the Modern Itch Period
Anne Wagner (Berkeley): Skin/Colour: the polemic of Convenor: Brendan Cassidy. University of St Andrews black and white Images of rulers are freighted with significance. Sculpture, Amna Malik (University of Edinburgh): Making resistance perhaps to a greater degree than the graphic arts, has the in Shirin Neshat's 'Women of Allah' series potential of scale, permanence, and external location, to convey its message to a vast public. The impression of Jo Morra (Oxford Brookes): Rauschenberg's Skin permanence and stability suggested by, for example, its mass and material, makes sculpture singularly well-suited Briony Fer (University College London): Skin and to the expression of power. This session will explore sculpted Separation images of rulers in their social matrices. Among issues considered are the patronage and financing of such works, their siting, contemporaries' responses to them, changing attitudes to them (including their neglect and destruction), Presence, Absence and their Stand-ins: the ways in which sculpture was used to manipulate public Twentieth-century Art and Photography sentiment and to promote political agendas, and the stylistic features that were thought best to achieve such aims. Convenor: David Hopkins, University of St Andrews Anthea Brook(Courtauld Institute): Dux Triumphans! A Consider the way in which Andy Warhol's Electric Chair Medici Portrait Monument as Antique Tropeium silk-screens convey, among other things, a palpable sense of absence. Or the belief, ascribed to superstitious Phillip Lindley (University of Leicester): Torrigiano's "primitives', that photographs steal people's souls. Or Portraits of King Henry VII Rachel Whiteread's uncanny cast sculptures. Or Rrose Selavy signing Duchamp's late readymades in lieu of an Prof Mark Jones (National Museums of Scotland): The absent 'author' .... All in all, the dialogue between Medallic History of Louis XIV presence' and 'absence' has been central to much twentieth century art and photography and continues to Prof David Bindman (University College London): King of inform current practice. the New Republic: Houdon's Equestrian Monument to George Washington This session aims to move between two poles: on the one hand, the denial of presence' in twentieth century art and Jeremy Howard (University of St Andrews): Monuments to photography: on the other, the replacement of implied the Romanovs in 18th- and 19th-century Russia presences' by stand-ins, aliases, surrogates It should appeal both to the theoretical and historical concerns of Prof Christina Lodder (University of St Andrews): art historians and to art practitioners. Monuments to Lenin and the Masses in Soviet Russia
David Hopkins (University of St Andrews): Compensation: Social imagining and Duchamp's appropriation of Ben Monsters Shahn Convenor: Louise Milne, Edinburgh College of Art Neil Cox (University of Essex): 'And ye shall be gods': The Victim in Surrealist Sacrifice Since Antiquity, distorted and fantastic bodies have been used in art to convey extreme emotional states, and/or to Anne Hamlyn (The London Consortium): A Trajectory represent the conditions of the Other World. This session between Figure and Ground: Tracing the 'That Has Been' will deal with visual fantasies of this kind from across the in Warhole's '1947 White' history of Western Art.
John Roberts (London): Surrogacy (title to be confirmed) Louise Milne (Edinburgh College of Art): Dreams and Desire in Impossible Things David Green (University of Brighton) and Joanna Lowry (Kent Institute of Art and Design): From presence to the Debra Strickland, (University of Edinburgh): Making performative: Conceptual art and photography Monsters in Medieval Art Rosemary Hawker (Griffith University, Australia): D. Jagdish Pillai (Middlesex University): Tlie Anamorphic Tiling Photographic Presence and Idiomatic absence: Gerhard Richter's Photopaintings Nicola Cotton (University College London): The Monstrous and the Political in 19th-century French Caricature Debbie Lewer (Cologne): Presence, Absence and Taboo in post-war German Art Mark Dorian (University of Edinburgh ): Ruskin and the Monstrous Elizabeth Legge (University of Toronto, Canada): Metaphorical Memory: Vera Frenkel's 'The Body Missing Ursula Sebald-Bultmann (Independant Scholar): Monsters and the Microscope: Victorian Fancy
12 ANNUAL CONFERENCE
Margaret Werth (Columbia University): Odile Redon's Noirs Art historians and digital images Colin Bell (Trinity College, Dublin): Concepts of Monstrosity in Bataille How has access to digital images affected your research interests? How has access to digital images Rachel Gear (Loughborough College of Art & Design): The changed your work methods? These and other Trouble with Monsters: Women Artists, Technology & the questions are currently being investigated by means Monstrous-Feminine of a questionnaire survey which has recently been distributed to a sample of the members of the AAH. If Mark Hutchinson (Artist, London): Monsters in Popular you have received one and not yet completed it please Art and Culture do so! All your views are of interest to us. We would appreciate it if you could return the questionnaire by the end of February 2000. Complex Myths - The Representation of the Body 1850-1939 We are also using an online questionnaire, which has been disseminated widely via email discussion lists. Convenor: Imogen Racz, Independent We are studying how digital images are being used now by members of the art history community and This session will explore the various and complex imagery how access to such images may be changing the way of the figure in late 19th and early 20th century Western research into art history is being conducted. Art art. Depictions in both painting and sculpture were history is intended to encompass historians of all designed to show the condition of modernity and the forms of visual culture including design, architecture, modern soul, or to convey to the viewer aspects of photography and film. Our online questionnaire is patriotism and nostalgia. These images were frequently available at:
References: Bakewell, E et al (eds.) (1998) Object, Image, Inquiry: the Art Convenor: Professor Robert Hillenbrand, University of Historian at Work, Getty Information Institute; Brilliant, R (1988) 'How Edinburgh an art historian connects art and information' Library Trends. 37, p. 120- 129; Markey, K (1988) 'Access to conographical research collections' Papers to be announced. Library Trends. 37, p. 154-174 STUDENT NEWS
Student Subcommittee Students abroad
Who are we? tudent membership of the AAH is a far-flung, highly mobile and constantly What do we do? changing community. Some of us move countries, commence careers or begin families while studying. Starting with this issue of Bulletin, the student pages will feature a regular series of short items on individual AAH student Chair - Sophie Matthiesson members, which aims to present some of the many perspectives and goals of (University of Leeds): young art historians. • Scholarships and careers database Doctoral students Erin Blake and Corinna Criticos begin the series by describing • Voluntary Work Placement what it is like to study art history outside the United Kingdom, in America and Bursary Scheme France. • Guide to Work Experience in the Visual Arts If you would like to contribute to this series with a piece about your own student • CIHA 2000 recruitment of student experience, write to Sophie or Dennis (see left for contact details). Graphics help (photos, jpeg images etc.) especially welcome!
Secretary - Vicki Kirkman (University of Liverpool): Erin Blake • Student research-in-progress Stanford University conferences tudent member Erin Blake is enrolled at Stanford University, where she • Careers in Art History re-write S has been working as a teaching assistant and completing a PhD • Careers Forum dissertation entitled 'Zograscopes, Perspective Prints and the Mapping of Polite
Rachel Harrison Erin's contact with fellow art historians in the USA is mainly through student- (University of Plymouth): run conferences and through meeting fellow researchers at specialised libraries. • Work placements lists Her dissertation defence coincides with the printing of the current Bulletin, and • Museums and galleries database marks the end of six and a half years' postgraduate study. • Summer School 2000
Matthew Hargraves SOPHIE MATTHIESSON (Courtauld Institute): • Student Membership Research
Nicola Watts (Open University): • Careers in Art History re-write • Careers Forum at AAH Annual Conference, Edinburgh 2000
Corinna Criticos - The cross-border mentality STOP PRESS Conference subsidy ince completing my high-school studies in Greece, my country of origin, I Shave moved around in two continents: Europe and North America. I first The AAH is pleased to announce landed in a small college: Wake Forest University, North Carolina, which that, thanks to the Student Support curiously opened my eyes to Europe, first in the form of the glamorous French Fund, AAH student members who House on campus, and then by prodding me back to Europe for a semester, to attend the annual conference in study art history and Italian in its Venice House. After getting a BA in Art Edinburgh will be eligible for a History and experiencing Berkeley and San Francisco for a year, I returned to subsidy of £50 towards their costs. Europe and settled in Paris, where I have pursued graduate studies in art This decision follows requests from history as a student of Jose Vovelle, a specialist in Surrealism, and of students for increased financial Raymonde Moulin, an art sociologist. In Paris I have continued to live between support. We hope it will encourage Europe and America: my first professional experience was teaching Art History more students to attend the to American students spending a term in Paris. In recent years, I have spent conference and allow them to budget time in Italy researching my dissertation on the emergence of the Arte Povera more effectively. movement in the 1960s. This moving about between countries and cultures for the study of art history has been a great experience. And clearly necessary. For As in previous years, students will be the art of the 1960s has been more than ever before one of the artist-nomad. required to apply for this subsidy by signing up at the student desk at the In April 1998 I attended the AAH annual conference with the idea that it was conference. Cheques will be sent out after the event. If you have any important to have more contact with art history scholars. I was curious about questions on this matter please how the discipline functions in the UK and how this compares with what I know contact Andrew Falconer on 0171 from France and Italy. Among the new things I discovered was the existence of 490 3211. We look forward to seeing an active and organised committee for art history students which, to my you at the conference. knowledge, is unique in Europe. This contact with student-members at the conference was very helpful and in the coining year I spent some time with Sophie Matthiesson, while she was on her research trip to Paris. I have also enrolled in the AAH as a foreign student-member. One of my aims, as I finally ESSAY PRIZE 2001 come to the end of my doctorate, is to keep up this cross-border mentality. For THREE PRIZES OF £200 EACH the good of the research and for the pleasure of the meetings. The AAH is offering three prizes of £200 each, plus book prizes from SummerSchool 2000 - latest developments the sponsors, Manchester University Press, Reaktion Books s reported in the last issue, the Student Subcommittee is hoping to arrange and Yale University Press. A a weekend summer school for postgraduate and undergraduate students. Winners will be able to collect their The focus will be students' own research work, with guest speakers addressing prizes at the 2001 Annual AAH us on topics of common interest — such as the question of getting published Conference, and will in addition when one's labours are done! The date is still to be arranged, but it will receive AAH Student membership probably be in early July. The outline programme at present is as follows. for a year. Abstracts of the winning entries will be published in Bulletin. Saturday: Arrival and registration mid-morning, followed by a small number of short (c. 20-minute) presentations by delegates on their current research; Entries are now invited from UK group discussion over lunch; a presentation by a professional art historian on a undergraduate and MA students topic of theory or research methodology, followed by further group discussion. of the History of Art and Visual Another group of delegate presentations and group discussion complete the day. Culture from both practice-based Further discussion would take place over dinner. courses and academic ones. The history of art and visual culture is to be understood in its broadest sense. Sunday: Activities suggested include a talk by a successful author on getting one's work published, a paper by a well-known art historian on a topic of wide Entries should be between 8,000 theoretical or methodological interest, a refereed group discussion on a and 20,000 words long, and must prearranged topic, further delegate presentations. Departure late afternoon. have been submitted in fulfilment of coursework requirements (long Precise details of topics of papers/discussions will depend on the speakers we essay; dissertation) at a UK can attract and the interests of the students who wish to attend. institution within the current or previous academic year. Each entry The venue will be in South East England; ease of access from different parts of must be accompanied by an the country will be a big factor in determining final location, as will cost. The academic nomination. Essays latter consideration really rules out London, although it has been a popular submitted must not have been choice in responses to our questionnaire. We are anticipating a charge of about previously published. Entries from £50 per delegate (significantly more for non-AAH members), to include lunch non-AAH members will be and dinner on the Saturday, one night's bed and breakfast, and lunch on accepted. There is no entry fee. Sunday. This is dependent on getting a good response from students, so if you are interested in coming please help us to plan by letting us know and making Deadline: 31 October 2000 suggestions as to what you would like the weekend to include. This will be your event, so let us know what you want. Contact: Gabriele Neher, AAH Essay Prize 2001 Co-ordinator (address on back page) FRANCES FOLLIN
15 STUDENT NEWS
W A N T E1) Museums and Galleries Questionnaire and Database he Student Subcommittee has long been committed to encouraging students Conference Assistants Tin the acquisition of professional skills within a non-academic art context and continues to promote the expansion of potential experiences and range of TIME choices for students contemplating a career in the visual arts. It was with these 30th International Congress of issues in mind that in April 1999 a pilot mail-out, in the form of a the History of Art questionnaire, was sent to fifty UK institutions on the subject of student work experience in the visual arts. We were motivated primarily by both the need to 3-8 SEPTEMBER 2000 assess current provision for volunteers and to gain insight regarding the use of London voluntary workers within museums and galleries throughout Britain. It was my task to set up a suitable database to enter the results of this initial survey, Are you interested in attending which would serve a dual purpose - to provide a list of UK institutions willing the major CIHA conference to accept student volunteers and to record the results of the questionnaire by held in London this storing information relating to volunteer policy and the administration of September? volunteers specific to each organisation.
Were you wondering how to The aims of the questionnaire were: pay conference fees? 1. To find out how many museums and galleries accepted student volunteers. 2. To gain insight into the established criteria for the selection of potential There may be a solution. volunteers. 3. To find out how many organisations have an official policy relating to the use of volunteers within the organisation, including Equal Opportunities CIHA organisers are looking for student help throughout the and Health and Safety guidelines. conference. Free attendance at 4. To assess the provision of recruitment, training, management and support some sessions and remuneration will of volunteers. be offered to AAH student members able to work as part-time assistants The response was positive. 22 replies were received and of these 20 institutions throughout conference week. stated that their organisation currently welcomed student volunteers. On the whole, volunteer policy was perceived as being based on the conditions for paid Register your interest early. employees, particularly where the institution was council based and volunteers would be covered by council policy. Volunteers were expected to show a Email Sophie at: commitment to developing a career working in galleries and museums, and [email protected] recruitment was generally stated as being by assessment and interview on an individual basis. Training would generally be given as and when necessary and travel expenses would occasionally be met. The minimum time commitment varied from one week full time to three months at two or three days a week. STUDENT DESK Other qualities looked for in a volunteer were evidence of suitability for tasks provided, reliability, attention to detail, pleasant character and intelligence — AAH Annual Conference the educational standard mostly set at degree level with art history often stated 6-9 APRIL 2000 as a prerequisite and occasionally an additional language stated as a bonus.
The student group will have a desk in One of the most interesting and useful results of the questionnaire was that the conference foyer to greet all eight institutions replied that they would welcome our offer of forwarding student delegates. examples of documents relating to volunteer policy already in use within UK institutions. We are in the process of completing this task. If you register yourself as an AAH Student Member you will be eligible The Student Subcommittee is keen to promote universal recognition of the for a part reimbursement of your value of volunteers within the visual arts. The consolidation and promotion of conference fee. (See notice about information on volunteer policy, combined with the recently produced Guide to Student Support Fund on page 15.) Work Experience in the Visual Arts (available from Sophie Matthiesson and the AAH Administrator, Andrew Falconer) and the proposed creation of a Voluntary .A special interest session devoted to Work Placement Bursary Scheme, are evidence of our continued commitment to student issues and a Careers Forum are scheduled in the conference the support of student volunteers working within the visual arts. programme and details of a social evening will be posted at the desk. So where do we go from here? Hope to see you there !!! Firstly, expanding the database to include as many institutions as possible will enable a more comprehensive survey. So, if anyone has a copy of the current Museums and Galleries Yearbook kicking around, we'd appreciate borrowing it! I should be able to cut down on postage costs by emailing institutions the Student Publications questionnaire direct. Secondly, it is my aim to make the information received as and Other Projects useful to student members as possible and I hope to be able to direct potential Does your student community have a volunteers to museums and galleries situated in their locality that may be open joint project, reading group or to an application from them. Thus this will become yet another resource publication of interest to other art available to student members, reinforcing the benefits of joining the AAH. history students? Why not place an announcement in the Bulletin? RACHEL HARRISON Email Sophie Matthiesson now!
16 STUDENT NEWS
Student Conference Reports 12th Research-in-Progress Conference 10th Conference - 15 MAY 1999 SATURDAY 19 FEBRUARY 2000 University of Edinburgh, Department of Fine Art School of Architecture, University of Liverpool Full programme to be announced shortly via the Stop he opening paper was by Sam Gathercole Press email list and on the AAH Student web page. (University of Manchester) who, focusing on the T Everybody welcome. No registration fee. constructed abstract work of Mary Martin, interpreted this work as reflecting both an aesthetic imperative and an For more information contact: accordance with the climate and ideology of social Vicki Kirkman, Flat 8, 20-24 Orchard Street, reconstruction in post-war Britain. Sam selected case West Didsbury, Manchester, M20 2LP. studies, such as Martin's 1957 contribution to the Nuffield Tel: 0161 434 3849;
The final paper of the day was by Vicki Kirkman 11th Conference - 13 NOVEMBER 1999 (University of Liverpool). This paper examined some ideas Birkbeck College, University of London around Russian Constructivism and how it has been appropriated in the period of postmodernity. The paper The first paper of the day was delivered by Frances sought to explore some instances of the representation of Follin (Birkbeck College) who talked about Op Art and Russian Constructivism, its ideas, artists and objects. National Identity. Frances' paper covered a great deal of material, ultimately focusing on the ways in which Op was VICKI KIRKMAN perceived as both European and British and how this University of Liverpool
17 ANNUAL REPORTS
Executive Committee Annual Reports AAH Administrator Hon. Secretary ollowing several years of Student his year at the AGM we shall F declining membership I am with AH and AB 59 [72] T elect the next Chair of the pleased to report that the number of with AH only 40 [47] Association who will take office in members is stabilising. In October with AB only 11 [9] April 2001. There is always a year of we produced a completely new with Bulletin only 87 [107] overlap in order to allow the new promotional leaflet to a positive Chair to become familiar with response. This will be widely Unwaged Association business. (Details on distributed and should prove With AH and AB 7 [4] page 3.) Nominations should be with instrumental in recruiting further with AH only 6 [6] the Hon. Secretary by the AGM in new members. with AB only 4 [3] Edinburgh. with Bulletin only 25 [25] I am also pleased to report that The following members will leave the following your feedback we have Life Executive at the 2000 AGM: Chris reintroduced the photo-membership With AH and AB 4 [5] Bailey, Peter Funnell, John card which looks much more with AH only 9 [10] Morrison and Pauline Ridley. The professional. The card gains you with AB only 1 [2] EC would like to thank them for all concessionary admission at the with Bulletin only 56 [57] their hard work on behalf of the galleries listed on the reverse and I Association. Four new EC members am in negotiations with other Corporate 25 [13] will be elected at the AGM and the institutions to increase its coverage. Country of residence: closing date for the receipt of In 1999 we offered members several Europe nominations is 17 March. Please discounts on other journals, With AH and AB 23 [21] send all nominations on the relevant membership of other associations and with AH only 18 [18] form, along with the names of two a hotel deal. I am hoping to extend with AB only 6 [7] nominators (who should both be this list of offers and benefits for with Bulletin only 2 [0] members of the AAH) to the Hon 2000. Keep a look out for more news Secretary. in Bulletin 74. USA and RoW With AH and AB 41 [44] This year, in order to avoid any If you have any suggestions or with AH only 55 [54] possibility of an inquorate meeting, comments regarding membership or with AB only 7 [4] we are introducing a proxy voting would like spare copies of the with Bulletin only 1 [0] form for those people unable to membership leaflet to distribute to attend the AGM. This is included friends and colleagues please get in Occupational profile 1999: with Bulletin and, when completed, touch with me. Academic 359 [347] should be returned to the Museums 67 [72] Administrator, Andrew Falconer, by Best wishes for 2000. Students 220 [240] 28 March. By signing this you allow Schools 30 [34] the Chair or your nominee to use Membership figures, categories Independent 111 [118] your vote if required on any issues. I and profile of occupational base Other 115 [88] would like to encourage as many of at December 1999 Unknown 74 [91] you as possible to complete this if you [1998 figures in brackets] are unable to attend the meeting. New members in 1999: Total membership - 976 [990] Academic 22 [18] PENNY MCCRACKEN Museums 4 [16] Members taking: Students 73 [111] Art History only 337 [344] Schools 2 [8] The Art Book only 99 [105] Independent 5 [11] Renewal Notice Art History & The Art Book 369 [352] Other 21 [8] Bulletin only 171 [189] Total 127 [176] If this copy of Bulletin contains a Reminder Institutions subscribing to Bulletin European members — 54 [56] Letter insert this is 46 [52] Austria 1/Belgium 1/Denmark 21 because you have not Finland 1/France 4/Germany 15/ renewed your membership Categories of membership Greece 6/Ireland 6/Italy 6/ for 2000. May I Ordinary Netherlands 5/Portugal 1/Spain 3/ encourage you to do so with AH and AB 201 [182] Switzerland 3 soon to enjoy reduced with AH only 200 [198] rates at our annual with AB only 70 [80] USA and RoW members - 108 [99] conference - the deadline Australia 7/Brazil 2/Canada 12/Hong for early booking is 11 Joint Kong 2/Israel 1/Japan 2/New Zealand 4 February - this could with AH and AB 9 [11] Poland 1/South Africa 3/USA 74 save you up to £100 on with AH only 9 [11] the full conference cost. with AB only 0 [0] ANDREW FALCONER
18 ANNUAL REPORTS
Chair Schools
e have had another exciting and eventful year and t the close of 1999 the Schools' Subcommittee, with a W the coming year promises to be even more so. I A sense of relief if not without some disappointment, refer members to the other reports submitted to this downloaded the latest and final A' level syllabus from Bulletin for details of our varied activities - the fruit of the AQA:
Finally, It is always a pleasure to be able to report on With the threat to the existence of the A' level gone, expansions in art history departments and I should like to uncertainty over, art history in schools retains its limited congratulate the University of Bristol for creating a new voice. For the discipline to have any impact within the Chair of the History of Art and Professor Stephen Bann on school curriculum art history teachers will have to his appointment to it. convince others of the particular merits of its methods.
TOSHIO WATANABE NICHOLAS ADDISON
19 ANNUAL REPORTS
Universities and Colleges
took over as Chair of this committee at Southampton in RAE IApril 1999 and this report covers our activities since The AAH had been asked by QAA to respond to a that date. I would like to thank Penny McCracken for all consultation document on the criteria for assessment her support and advice as I eased(!) into this new role: her under RAE. The chair wrote a letter in conjunction with help and extensive experience has been, and continues to the committee and the executive expressing some be, invaluable. Gaby Neher, as secretary of the committee, concerns, but also conveying our satisfaction with much of has also provided guidance and vital support, and has the document. contributed to this report. I would also like to thank all the members of the subcommittee for their contributions, and Research Questionnaire especially members of the benchmarking working party. Ken Quickenden has once again compiled the survey of research activity in the History of Art in the UK. The Subject Benchmarking results of the survey are available from Andrew Falconer The main item on our agenda has been the crucial one of or through the Association's web-site. The committee is subject benchmarking. QAA are planning at present to very grateful to Ken for continuing to produce this survey. assess Art History and Art & Design in one subject group. This means that both disciplines would ultimately be Membership assessed with reference to the same set of benchmarks. The committee membership has enlarged over the last The committee is concerned that any set of benchmarks year, with more representatives from the old universities applicable to both Art History and Art & Design would be (Bristol, Cambridge, Sussex, University College London) too general to be useful to either group. It is concerned providing a new balance; we still need to try and recruit about the different ways in which practice-based and more members from the North, and especially Scotland. academic-based degrees are taught, and about the Please contact me if anyone is interested in joining the outcomes of the two disciplines being incommensurate, as committee. well as about the make up of any assessment panels. Annual Conference in Edinburgh Since one of the roles of benchmarks is as a source of As in previous years, the subcommittee is planning a information for parents, teachers and prospective students Forum Discussion on issues of Teaching and Learning at about what a degree in art history would offer, there are the Annual Conference. This year's theme will be 'New also concerns that in grouping art history with art and Approaches to Teaching and Learning'. The speakers for design, the academic nature of the subject may be this event will include Dr Angela Smallwood (University of obscured. Convincing schools of the academic standing and Nottingham), who will speak on a DfEE funded project nature of our subject is an ongoing problem, and the jointly carried out by the universities of Nottingham and committee feels that rather than clouding the issue Newcastle for the keeping of Personal Academic Records further, benchmarking could, and should be used to make (PARs) on a specially designed web site. Dr. Paul Clark, a positive statement about art history, its challenges and Chief Executive of the ILT has been asked to talk on the what a graduate in art history would be expected to institute's attitudes to new approaches to Teaching and achieve. With these aims in mind, the subcommittee has learning: Professor Chris Bailey (University of Newcastle) set up a working party to try and construct benchmarks has agreed to talk on the results of a questionnaire into for art history in advance of any call by the QAA to do so changes in patterns of learning through the use of new (the official formation of the panels is likely to happen this technologies. It is hoped that the Forum discussion will Spring). The working party, which has now met twice, is provide as useful and stimulating an occasion as previous made up primarily of members of the subcommittee, along events. with representatives from related fields (for example from the design historians, from the architectural historians This is also a reminder that the Annual meeting of the and from conservation). Universities and Colleges Special Interest Group will take place in Edinburgh. Attendance at Special Interest Group Drafting benchmarks has enabled us to marshal our meetings and the AAH AGM is open without charge to all arguments for a clearly defined subject group for Art current members of the AAH. History. These arguments were presented to Mike Laugharne, a representative of the QAA, at a meeting held I look forward to seeing many of you at Edinburgh. on 17 November in London. The working party is confident of some positive outcomes from this meeting: Mike SUSIE NASH Laugharne has accepted an invitation to talk to our members about these at the Edinburgh conference. Universities and Colleges Subcommittee Circulation of our draft benchmarks to a wider Susie Nash (chair) constituency of members of the AAH will be undertaken as Gaby Neher (Secretary) soon as possible, for comment and feedback. If anyone Chris Bailey Paul Binski would like to contribute to the discussion about Claire Donovan Martin Gaughan benchmarks, there is a mailbase discussion list to which Tom Gretton Stephanie Pratt messages can be sent at
20 ANNUAL REPORTS
Students Independents he student subcommittee has had an eventful year, uring 1999 Deirdre Robson agreed to continue acting T with a number of projects conceived in 1998 (or Das Chair for a second year. Vivien Northcote stood earlier) coming to fruition, such as the Student Starter down as Secretary, but her place was taken by another Pack, and the Student Web-Site. Both the Starter Pack long-standing member of the subcommittee: Catherine and the Web-Site are already proving indispensable tools Parry-Wingfield, who was elected for the year 1999-2000. for encouraging student involvement in the AAH. A Guide A vote of thanks to Vivien was made by the whole to Work Experience in the Visual Arts also appeared. The subcommittee, and is very much echoed by myself as Guide's simple format allowed printing costs and effective Chair. production time to be kept to a minimum. Further student publications are being planned along similar lines (such as Since the time of the last Annual Conference the the forthcoming booklet, Careers for Art Historians) which subcommittee has met approximately bi-monthly, and the can be produced quickly and inexpensively and therefore Chair (or her designated deputy) has attended meetings of keep in step with the changing profession. the main executive. The number of active members of the subcommittee was rather depleted at the time of reporting During 1999 a total of sixteen speakers presented papers last year, but as a result of a call for volunteers several at three Research-in-Progress day conferences at people have come forward to serve on the subcommittee. Nottingham, Liverpool and Birkbeck, with topics ranging Although the number making up the subcommittee is still from censorship in sixteenth century Italian prints, to the smaller than one would like, this addition of new blood is reception of Russian experimental art in Britain during very encouraging. It is hoped that there are still others out the Thirties. The next day conference is to be held at the there who have yet to come forward to ensure that the University of Edinburgh on 19 February. Its close timing voice of the independents continues to be heard effectively with the Annual AAH Conference makes this event a within the AAH. valuable opportunity to get to know Scottish student members in advance of the main conference and plan a During the last year the subcommittee has spent social activity for student delegates at Edinburgh in April. considerable time considering what kinds of activities it could get involved in to raise the profile of independents Two major new projects were researched and defined in within the AAH itself, but also what could be done to the course of the year. A Voluntary Work Placement heighten awareness of the AAH within the wider Bursary Scheme designed to support students independent community. Anecdotal evidence suggests that undertaking work experience was successful in its bid to membership of the AAH is not a particularly attractive the AAH Initiatives Fund last June, the second student option for many independents. Several kinds of outreach project to attract funding from this source. Its structure activities have been considered, and work is ongoing on and scale are still under consideration, although its bringing several proposals to fruition. It is hoped that duration of a pilot three years is assured. In September these efforts will become evident in the next year. No the outline for a Student Summer School was submitted networking event was organised in this last year, but to the Initiative Fund, which was once again well received. instead there are plans to organise what it is hoped will be This inaugural event is aimed at bringing the best of the first of a series of symposia which will provide an research students together with leading art historians opportunity for independent members to get together and over a weekend. Delegates will give brief presentations share some of the results of their ongoing independent art and take part in chaired discussion sessions on theoretical historical work. Details of this event are on page 25. and methodological issues. You will be kept informed on the development of both projects in the coming months. It is hoped that the subcommittee can continue to act as a ginger group for independent members of the AAH as The student group was pleased to negotiate for the use of some issues - pay, terms of employment, harassment, paid AAH student assistants at CIHA next September. copyright - continue to cause concern. There is still a need The conference organisers, in particular Marsha for a voice for independents within the AAH, and it is Meskimmon, have been most eager to encourage student hoped that such a voice will continue to be able to make attendance at the event and have offered a certain amount itself heard in the year coming, as it has done in the past. of paid work, to be combined with free attendance at selected sessions. Anyone who attended the Southampton DEIRDRE ROBSON Annual conference will recall how the efficiency and cheerfulness of the student team enhanced the experience. The student group will work with CIHA organisers to ensure that this high standard is maintained. Large, eclectic selection of art history Finally, I would like to thank the subcommittee for its textbooks [8 boxes] plus 300-400 slides, immense commitment to the many projects at hand. I have property of retired lecturer, for sale. For further only been able to list some here; others are reported on details contact: Ann Corry, Tel: 01372 463773 pages 14-17. Many is the time that committee members (weekends) have shared, swapped or taken on extra responsibilities to relieve those faced with other deadlines. This flexibility Run of Art History, vols 1-12 (1978-89), and common belief in the value of student contributions 47 out of 48 numbers (lacking only Dec 1981) makes the student group a strong and vital force in the life £100. Patrick Conner, Tel: 0171 274 7040 of the AAH as well as a great pleasure to work with. (evenings)
SOPHIE MATTHIESSON
21 ANNUAL REPORTS
The Art Book Art History
write this annual report after only a few months as Honorary Editor. It is he year 1999 saw the successful Ihuge privilege to have been invited to take on this task. In the January 2000 Tintroduction of five issues of Art issue Sue Ward expressed thanks to my predecessor, Howard Hollands, who has History. This development has overseen The Art Book as it has moved very much into the centre of the allowed us to continue to publish an Association's offer to its members. I would like to join her in those thanks. I increasingly wide range of the take on this role at a time when The Art Book is increasingly sound financially, innovative, scholarly work which is having performed better than expected - indeed, moving into marginal regularly submitted to us while profitability a full year before the business plan anticipated. The range of carrying on with the commissioning reviewers continues to grow, and Sue Ward must again be congratulated on of essays for the Special Issue/annual bringing out a high-quality production against a testing schedule. The Art History book, as well as contribution of Jean Martin, our US books editor, is evident in every issue, occasionally inviting the submission through the range of reviewers, books and exhibition catalogues from the US. of articles for other numbers of Art And I would like also to record our recognition of the work of the reviewers History. The first Special Issue/book, themselves, who make time to provide The Art Book with the great variety of 'About Michael BaxandalF, was well insights into the literature of art history - in its widest interpretation. All this received, while the second 'The provides a sound footing for the recent transfer to the Association of the Metropolis and its Image', was finances of The Art Book from Pitchfactor, who initially took it on in conjunction successfully launched through a with Blackwells. It therefore now has the same relationship with the series of lectures hosted and funded Association as does Art History. by the Mellon Centre in London. The Board and Editors are grateful to the This recent change of status provides another reason for taking the opportunity centre for this support and happy to to look again at The Art Book. I wrote a short piece for the January 2000 edition see the Journal playing a role in the (p. 12) to open up the debate about its future development and direction. This cultural and academic life of London. debate will be a major task for the new editorial group, which I hope will be in We were honoured to be able to offer place by the time of the Edinburgh conference. But it must also be in the hands a tribute to the late Professor Stefan of the Association's membership — who, at the conference, will be invited to give Germer with the publication of his views on the quality, organisation and scope of the publication. What sort of last piece of work on Gericault in second periodical should the Association be promoting? What change needs to June 1999. be introduced to enable it to fulfil its present functions better? What additional functions might we introduce over time? I hope that you will be able and willing The Special Issue for 2000 has, with to offer your thoughts, and I invite you now to contribute to what I am sure will the agreement of the board, been be a lively debate. changed from one on 'Sade and Art History', as previously announced, to The questions I raised in my piece were mostly about format - mostly new 'Fingering Ingres'. This will be a ideas. But I have more current concerns about the making of editorial decisions. record, together with additional In particular I am concerned about how we make decisions about which books essays, of the eponymous session we review, and what prominence we give to them. It could be argued that one of held at CAA 2000, and organised by our roles is to review those books which have not been covered by the national Susan Siegfried and Adrian Rifkin. press and the 'heavyweight' art history journals - particularly the AAH's own Taking stock of the recent spate of Art History. Alternatively, it could be argued that this is the forum for a exhibitions and monographs particular style of review of those 'major' works - relatively short reviews concerning the artist, this issue sets maybe, but with an emphasis on setting out what the book is about and what out to map the historiographical field audience it is designed for: to offer a guide to our readers, not obscured by the of Ingres studies, and will be edited reviewer's own interpretation. In that case we should aim for a coverage that by Adrian Rifkin and Dana Arnold reflects the breadth of art history which the Association itself embraces. But with Susan Siegfried. The 2001 whatever, and this is the nub of the matter, we need to ensure that there is a Special Issue, 'Collectors and clear editorial policy for those decisions, and that this is shared with our Collecting: a Queer Kind of History?' reviewers, and for those who provide Issues and Features. At the moment I will be guest edited by Professor think that this aspect of the production is the one which has been left behind. Michael Camille of the University of The vital task of producing fine looking and valued issues has (quite rightly) Chicago and will be the subject of a taken precedence. What I would like to see over the next years is a production major conference in Chicago to be which is more predictable (but never boring!), more consistent in its quality and held on 8 April 2000. The Special style (although encouraging and supporting variety) and that can be turned to Issue will thus continue to play a role with confidence by all our membership (at the same time as appealing to an as an ambassador for the Journal increasingly wide audience of people interested in art). I look to the membership and the Association. particularly in helping me to work through these decisions with the editorial group and with Sue. Art History website The work of developing a forum and I have been given great support in these first few months by Sue, who has discussion space on the Journal's helped me understand the complexities of the production, and by Howard, by website has been slow, and is only Andrew Falconer, and Peter Funnel, who chairs the editorial group. But I must now beginning to take shape. Our especially thank Toshio for his extraordinary patience in listening to my aim is still to develop a series of musings on what might be! themes or topics of urgency within the discipline, and to set up around (continued opposite) CLAIRE DONOVAN
22 ANNUAL REPORTS
British National CIHA Committee Artists' Papers Register
he last year has been a significant one for the he central concern of the Committee during the year Register. Following Reyahn King's resignation as has been working to help and advise Nigel Llewellyn T T Chair of the project in December 1998 due to the pressure in the preparation of the CIHA London 2000 Congress. of other commitments, I succeeded her in April. The delay The Committee wishes to thank Nigel for the vast work was in part due to the Association's decision to begin to and commitment that he has put into the project, and to provide a regular fee for the Chair, in recognition of the congratulate him on the marvellous programme that he fairly significant commitment required by the role. has created. Details of the programme appear in the Call for Delegates and Registration Form enclosed with this I arrived to find that significant progress had been made issue of Bulletin. See also article on page 24. with the Register: the first and second phases of the project, based in Leeds and Birmingham respectively, had At the AGM of the AAH in Edinburgh, new committee been finished, and the resulting database was being tidied members will be elected, together with a new Chair of the up and prepared for publication via the World Wide Web. British National CIHA Committee, who will become the The Register went live' on the Web in October, on a server President of the international CIHA Committee after the hosted by the Historical Manuscripts Commission; it can CIHA London 2000 Congress. be accessed at
JOHN HOUSE http://www.hmc.gov.uk/artists/ Chair, British National CIHA Committee The online Register was launched formally in December by Art History, continued Matthew Evans, Chair of the Library and Information them what one might call a properly refereed, electronic Commission and Chair-Designate of the new Museums, section of the Journal, with a view to widening the basis of Libraries and Archives Council. (See the item on p 3 of this authorship and the types and forms of submission. issue of the Bulletin.) This was accompanied by an extensive mailing of information about the Register to the In order to accomplish this we will need substantial national and specialist press, to those repositories with support from the readers of Art History and the members material held in the Register and, perhaps most of the Association, and we welcome ideas and importantly, to all departments teaching the history of art contributions as a matter of urgency. That said, we have or design in the UK, together with their institutional anyway set out to allow historiographical and theoretical libraries. themes in the writing of art history to echo through different materials, periods and subjects of scholarly If anyone would like to display a poster advertising attention with a view to strenthening the relationship the Register and its URL, they should contact me at between consistency and variety in the Journal. the address printed on the back of the Bulletin.
The work of the editorial board has been subject to ongoing The search for a London base discussion and we have continued to refine it and In its current state, the Register includes papers held in underline its effectiveness through the more thorough repositories in Scotland, Wales, the Isle of Man, the exchange of thinking about articles and future issues. The Channel Islands, and England except for Greater London Executive of the Association, at the request of the Board, Negotiations have been continuing over the past year to agreed to change the title of the Associate Editor to that of find a base for the third stage of the project: the recording Deputy Editor, which was held to be more appropriate. of items in repositories in Greater London and, we hope During the year both editors have changed places of work, Northern Ireland. I am pleased to be able to report that with Adrian Rifkin and Dana Arnold taking up chairs at the Library and Archive of the Tate Gallery has agreed Middlesex and Southampton Universities respectively. formally to act as the host institution for this section of the project, providing accommodation for, and day-to-day We would like to thank the Editorial Board, the Executive, supervision of, the project officers. Work will now continue Andrew Falconer, Sarah Sears and David Oppedisano for with a search for funding, followed by the appointment of their unstinting support in the production of the Journal, project officers and the completion of this phase of the and we look forward to a fruitful collaboration with our Register. publishers, Blackwell in the achievement of further development. Thanks I should like to conclude by expressing my thanks - and I ADRIAN RIFKIN am sure, the Association's - to those whose hard work and commitment has led to the Register finally becoming publicly available: the various members of the Register's Bulletin supervisory Working Group and Advisory Group; Robin Bourne, formerly the Birmingham project officer; David uring 1999 three issues of Bulletin were produced at Tomkins, formerly the Leeds project officer and now Drelatively low cost. Following the decision to revert to Secretary to the Register; my predecessors as Chair of the a two-colour Bulletin, on better-quality paper, steps are project, particularly Reyahn King; and, finally, to Beth being taken to encourage contributions from members in Houghton and the Tate Gallery for agreeing to serve as the form of conference reports, articles and photographs. It hosts for the third stage of the Register. is also hoped that the more attractive newsletter will result in an increase in paid advertisements. RUPERT SHEPHERD JANNET KING
23 CONFERENCE NEWS
Designing Identity CIHA LONDON 2000 Border-crossing between SUNDAY 3 - FRIDAY 8 SEPTEMBER 2000 contemporary art, furnishing Central London and dress SATURDAY 18 MARCH 2000 The Thirtieth International Congress of the Comite International d'Histoire de Victoria & Albert Museum l'Art will take place in central London from Sunday 3 to Friday 8 September 2000, on the subject of'Art History for the Millennium: Time'. This will be the This study day features artists and largest and most wide-ranging art-historical conference ever held in the United designers who use the decorative Kingdom; it is also the first time that the UK has hosted a Congress of CIHA arts as an integral part of their work to address such varied topics as since the foundation of the Comite (the only international art-historical cultural exchange and diversity and organisation) and its first Congress in 1873. The sequence of CIHA Congresses the impact of commercialism. have long been seen as playing a key role in defining the art-historical discipline Inspiration for the day comes in at that particular historical moment. part, from the London Printworks Trust and the African and Asian At CIHA LONDON 2000 over 200 speakers will give papers in 23 academic Visual Artists' Archive. sessions, approaching the theme of'Time' from the widest range of art-historical contexts and perspectives. These papers were chosen from over 1000 proposals Speakers include: Rosemary Miles from all over the world - an indication of the vast interest that the Congress (Chair), Zineb Sedira, Sonya Boyce, has already aroused. In addition, a programme of social events, receptions and Janice Cheddie, Sarah Staton, Rebecca visits will make this into a unique opportunity for delegates to meet colleagues Earley, Kennie Macdonald, Roney Fraser Munro, Yinka Shonibare. from all over the world.
£28 + concessions. The whole Congress promises to be an extraordinary event, both in its academic Contact: Tel: 0207 942 2209 content and in the range of other activities that delegates will be able to explore in London. The Call for Delegates and Registration Form for the Congress, including a detailed programme of academic sessions, is enclosed with this issue Cultures of the West End of Bulletin. 17-18 NOVEMBER 2000 Tate Gallery, London Support from British art history community Organised by the Tate Gallery and We warmly invite colleagues to attend, and ask you all to publicise the Congress the University of Southampton as widely as possible, to students, researchers and anyone else who might be interested in attending. We hope that all departments and colleagues will feel The West End remains a self• that this is an event that they should support, both by attending and by consciously constructed urban encouraging others to attend. Its success - both intellectual and financial - will environment and a signifier of the depend in a major part on those who attend, and we feel that it is most complexities of metropolitan important that home-based art historians should be amply represented. It is a identities. The conference seeks to unique opportunity both to showcase the strength of the discipline here, and for explore the evolution of this area of home-based art historians to sample the discipline as it is practised elsewhere. London through a thematic investigation of its cultures. In addition, we much hope that art history departments will feel that they have a responsibility to enable students to attend, for instance by offering bursaries The papers explore moments in the to subsidise students' Congress fees. Fees have been kept to an absolute social, economic and political life of minimum, with generous discounts for early booking, but we recognise that \ the West End c. 1650-1950 and financial issues may deter potential delegates. offer new insights into its architecture and geography. Such The Congress organisers are doing all they can to establish a fund to help an approach reveals the different subsidise delegates, but it has been decided that this should be earmarked for chronologies of London — e.g. the students from outside Western Europe and North America, so as to ensure that urban planning of the West End representation at the Congress is as international as possible. still adheres to its original layout, leaving the valuable real estate of Involvement of AAH the garden squares unusable by The event is being generously supported by the Association of Art Historians, developers, although this imprint with both financial and moral support, recognising the importance of the event of past on present exists no longer and the constitutional links between the AAH and the British National CIHA in the social connotations of the Committee. West End. Whilst avoiding a narrative survey, the conference The Honorary Congress Director is Nigel Llewellyn, Sussex Centre for Research shows how the relationships in the History of Art, Arts A, University of Sussex, Farmer, Brighton BN1 9QN; between the West End and other the Organiser is Karen Wraith, same postal address, email address: parts of the metropolis have
Queries about booking should be addressed to EYAS, the professional Professor Dana Arnold , Dept conference administrators, whose address will be found in the Registration History of Art & Design University Form enclosed with this issue of Bulletin. of Southampton, Park Avenue Winchester, S023 8DL, UK. JOHN HOUSE Tel: +44 (0)23 8059 6901 Chair, British National CIHA Committee
24 CONFERENCE NEWS
Independent Perspectives Orientalism Symposium 2000 in The West's Response to 10.00 AM -4.00 PM the Muslim World 1 SEPTEMBER 2000 i LI SATURDAY 24 JUNE 2000 Fitzroy Square, London Royal Museum, Edinburgh Association of Scottish Society for Art History in The Independent group subcommittee is planning an Art Historians association with the National inaugural one-day symposium to give an opportunity for Museums of Scotland independent members of the AAH to present aspects of their ongoing research. The projected symposium will be held at the premises of the Georgian Group, This Study Day will look at the Fitzroy Square, London. The day will commence with a keynote speaker, impact of Muslim art and culture followed by academic papers presented by independent members of the AAH. on the West. Papers will cover There will be a sandwich lunch and refreshments upon registration. many aspects of Westerners' travel in and study of the Muslim world, The cost for booking this event is £15.00, to include lunch and refreshments. such as collecting and cataloguing Expressions of early interest are encouraged. Enquiries either to Deirdre Muslim art, painting or Robson (Chair) on Tel: 020 8743 4697 or Catherine Parry-Wingfield (Secretary) photographing the people and on Tel: 020 8892 3908. places, or otherwise interpreting or appropriating Muslim culture. The intention is that this one-day symposium will serve to demonstrate the Topics range from Muslim wealth of interesting work which is being done on a range of topics by influence on arts and garden independent art, architectural or design historians at present. design in the European Renaissance, to 20th-century Short abstracts (no more than 250 words) for possible papers of no more than 30 mosque design by Western minutes in length, are requested from independent members of the AAH, and architects in the Muslim world. such abstracts should be sent to Deirdre Robson, 10 Davisville Road, London Contributors include established W12 9SJ, to arrive no later than 1 May. There is no restriction upon the topic scholars such as Professor Robert for abstracts, and any theme on the day will only emerge from any affinity of Hillenbrand, Jennifer Scarce, proposals. Sylvia Auld and Ulrike Al-Khamis, as well as doctoral students Full details of the programme will appear in the next issue of the Bulletin engaged in new research into (June). Final bookings can be made after this date. Orientalist topics. Most importantly, the Study Day will bring together people from a wide Compression vs. Expression variety of disciplines and Containing and Explaining the World's Art communities: historians of Western art, architecture and design with 6-8 APRIL 2000 their counterparts in the Islamic Sterling and Francine Clark Art Institute, Williamstown, Massachusetts fields; students and specialists in Islamic Studies and Middle The second Clark Conference will bring together a group of international Eastern Studies; and more specialists to discuss the issues raised when the art of more than one country, generally, people of Muslim, culture, or period is brought together in a museum, a university, a database, the Christian or other backgrounds domain of an international organization, a book, or a theory. who have an interest in the theme of Orientalism. Thursday Institutions: The Museum and the Exhibition The Royal Museum's outstanding The University and the Curriculum collections of Muslim art will provide an appropriate context for Friday the Study Day and one of the Global Perspectives: International Institutions papers will present new research Views from Other Cultures on an important piece in the collections. Many of the papers will Saturday later be published in the Journal of The Book and the Theory the Scottish Society for Art History. Open Forum For further information, contact: Speakers include: Cao Yiqiang (National Academy of Art, Hangzhou), Wilfried Hilary Macartney Scottish von Damme (Ghent University), Whitney Davis (Northwestern University), Society for Art History, 22 Exeter Arlene Fleming (World Bank), David Freedberg (Columbia University), T.A. Drive, Glasgow Gil 7UX. Heslop (University of East Anglia), Renata Holod (University of Pennsylvania), Tel: 0141 334 5636 Cecilia Klein (UCLA), Michael Rinehart (Bibliography of the History of Art), Ulrike Al-Khamis, Curator for Mikhail Borisovich Piotrovski (State Hermitage Museum), David Summers South Asia and the Middle East, (University of Virginia), Paul Taylor (Warburg Institute), Fred Wilson (artist), National Museums of Scotland, Georges Zoain (UNESCO) Chambers St, Edinburgh EHl 1JF. Tel: 0131 225 7534 For information, Tel: 413-458-2303, ext. 260 or
Sculpture and the Intellectual Migration and Cultural Transformation Divine FRIDAY 23 JUNE 2000 The Movement of Ideas from German-speaking Europe to Winchester Campus, University the Anglo-Saxon World of Southampton 25-28 SEPTEMBER 2000 A one-day conference on the Brighton role of the sculptural object in Organised by the Institut Wiener Kreis (Zentrum fiir Internationale und evoking, representing and Inter disziplinare Studien, Universitat Wien) and the Centre for German- embodying transcendent Jewish Studies (University of Sussex) experience Call for Papers Call for papers The enforced migration of writers and intellectuals from Nazi-occupied Europe Proposals are invited for this one has been the subject of intensive historical research. The aim of this conference day event from artists, art will be to extend the focus to take account of a wider 20th-century context, historians, theologians, analysing both the dynamics of the original ideas and values and the philosophers, cultural historians transformations which resulted from their assimilation to a different cultural and others. Send a title and 100- environment. This conference will break new ground by investigating the word abstract as soon as possible complex evolution of thought patterns and intellectual paradigms, associated in to: Professor Brandon Taylor notable instances with specific groups or institutions. Department of History of Art University of Southampton The sequence of papers will be organized in thematic clusters which will include Park Avenue fields such as Art History, Psychology and Psychoanalysis, the Influence of the Winchester, S022 5EN Vienna Circle, and the Function of Institutions (for example, the Frankfurt Tel: 01703 596929 School, the Warburg Institute and the Society for Protection of Science and Fax: 01703 596901 Learning). The exodus of the Vienna Circle may serve as a model for the
Midlands Art The language of the conference will be English, and papers will be restricted to History Group a maximum of 30 minutes to allow ample time for discussion. Further information is available from the address given below, and proposals for papers, 17 MAY 2000 accompanied by a one-page synopsis, should be sent to by 29 February 2000 to University of Warwick Andrea Hammel, Research Administrator, Centre for German-Jewish Studies, University of Sussex, Brighton, BN1 9QN, e-mail:
26 CONFERENCE NEWS
Visual Culture and Tourism Women and Building SATURDAY 13 MAY 2000 FRIDAY 19 MAY 2000 Anglia Polytechnic University, Cambridge Dorich House, Kingston Upon Thames, Surrey A one-day multi-disciplinary conference to explore the A one-day symposium hosted by Kingston University interactions of touristic practices and ideologies with School of Art & Design History in association with the production of visual art and artefacts the University of Warwick
From the Grand Tour and John Constable to Paul Following our highly successful symposium in May 1999 Gauguin, Anthony Gormley and postcard culture, regimes on Women and the Art World of the 1920s and 1930s, of visual representation have been implicated in the contextualising the life and times of Dora Gordine (1898- practices and politics of modern tourism, and vice versa. 1991), Kingston University is again making available her Historic reference, myth-making and the assertion of new home and studio, Dorich House. This fascinating house, identities are crucial components of tourism development with its references to the modern movement, its collection and promotion, and images and displays form a significant of sculpture by Gordine and a unique collection of Imperial means through which these ideas are (and were) realised Russian art, was taken on by Kingston University in 1994 and disseminated. Touristic habits of thinking and acting in a dilapidated state. Now that the restoration of the have informed artistic practices; conversely, art has house is complete, the Dorich House Project provides a provided iconographies of places and produced focus for fresh areas of research. expectations of touring. Different constituencies, including various categories of visitors and hosts, produce, consume, The central theme of the symposium will be women and circulate, appropriate and critique these images of places their relationship to building through the architectural in different and often conflicting ways, and the profession and in other capacities such as designers, intersections of tourism and visual culture become teachers, critics, patrons and entrepreneurs. The Keynote contested ground. There will be three parallel sessions: Address will be given by Alice T. Friedman, Professor of Myths and images; Sites and practices; Troubled Art and Director, Architecture Program, Luella LaMer encounters. Professor of Women's Studies at Wellesley College, Massachusetts. Other speakers will include Dr. Penny Sessions from 10.00 am - 5.00 pm. Fees: £35 (full fee); £25 Sparke, Dr. Lynne Walker, Dr. Louise Campbell, (student and unwaged). For further details and a Elizabeth Darling, Charlotte Benton and Brenda Martin. registration form, please contact: Dr Nina Liibbren, Department of Art and Design, Anglia Polytechnic Tickets £25, Students £15 to include lunch and University, East Road, Cambridge CB1 1PT, U.K. refreshments and evening wine reception. To book, please Tel. 01223 363271 ext. 2471
Inclusion Visual Culture in a The role of museums and galleries in Changing Society promoting social inclusion Britain 1940-2000 26-29 MARCH 2000 27-29 JULY 2000 University of Leicester University of Northumbria at Newcastle The Department of Museum Studies' fifth international conference at the University of To coincide with the launch of the national and Leicester, supported by The Heritage Lottery Fund international journal Visual Culture in Britain, this and Museums and Galleries Commission conference is concerned with the visual culture of Post• war Britain. Papers will examine the cross-cultural and What is the social value of the museum? What role can historical implications of visual imagery and objects in the museums and galleries play in tackling the contemporary areas of fine art, design, architecture, film, television, social issues facing the communities they seek to serve? video, computerised technologies, photography, Fundamentally, in the combating of social exclusion, what, advertising and graphics, fashion and the performing arts. if anything, can be achieved through the agency of museums? Strands are as follow: • Theorizing Visual Culture The conference brings together speakers from Australia, • British Visual Culture After Empire South Africa, USA, and Europe to explore these important • Spaces in Visual Culture questions. • Identities in Visual Culture: Gender and Sexuality • Consensus Cultures For further information please contact Barbara Lloyd, • Cultural Hierarchies: High and Low Conference Administrator, Department of Museum Studies, University of Leicester, 105 Princess Road East, For further details and booking forms contact: Leicester LEI 7LG. Tel: 0116 252 3962; Fax: 0116 252 3960:
27 EXECUTIVE COMMITTEE 1999-2000 Officers Schools Ex-officio members Nicholas Addison John House Toshio Watanabe Art and Design (Chair of the British National Chelsea College of Art & Design Institute of Education Committee of CIHA) Manresa Road University of London (Courtauld Institute of Art) London SW3 6LS 20 Bedford Way Tel: 0171 514 7770 London WC1H 0AL Duncan Branley Fax: 0171 514 7778 Tel: 0171 612 6247 (Web-site Coordinator)