THE PAUL MELLON CENTRE FOR STUDIES IN BRITISH ART 1 ~1 ~ NEWSLETTER Yale University ART AN D THE BRITISH EMPIRE c.1600-2000 5-7th July 2001 at Tate Britain, London Organised by Dr Tim Barringer (Yale University) and Dr Geoff Quilley (University of Leicester), this three-day con­ ference proposes that the concept of "Empire" belongs at the centre, rather than in the margins, of the history of British art. The history of imperialism in British culture has come under increasing scrutiny in recent years. In the wake of new scholarship in history, anthropology, litera­ Agostino Brunias Linen Market, Dominica (c.1780) ture and post-colonial studies, what is demanded now is a cultu ral history of empire, in which the history of art must Panels will include speakers from Australia, Canada, Great play a central role. Britain and Ireland, India, New Zealand, Pakistan, South Leading historian of Britain and Britishness, Professor Africa, So uth America and the United States. Papers will Linda Colley of the London School of Economics will give explore a wide range of visual culture and will be o rganised a keynote address on Britain, Smallness and Otherness: A into sessions on Consuming the Empire; The Natural Visual and Imperial Odyssey; as will distinguished art his­ History of Empire; Empire and Britishness; Slavery and the torian and theorist, Professor W.J.T. Mitchell of the Caribbean; Collecting India; London as Imperial City; University of Chicago on Empire and Objecthood. A further Landscape and Empire in Australia; Empire and the Body; plenary session will bring together a panel of British artists Inventing the Raj; Australia and Colonial Art; Assimilation; whose work refers to colonial and post-colonial issues. The Oriental ism; Women and the Empire; Landscapes of Travel majority o f papers in the conference, selected from a large and Settlement; Popular Cultures of Empire; Imperial number of proposals submitted from all over the world, Masculinities; Art and Ideology in South Africa; and will comprise d etailed case studies of works both in publi­ Modernity and the End of Empire. The conference aims cations and museum d isplays, which despite their high aes­ to provide a focus for current research on British ~rt thetic quality and historical value are currently excluded and imperialism by scholars in academia and museums from the history of British art. across the world. Speakers i11c/11de: Jeffrey Auerbach (California Eric F Gollannek (University of Delaware), Bar­ Partha Mitter (University of Sussex), Morna State University at North ridge), Jordanna Bailkin bara Groseclose (Ohio State University), Jeff Guy O'Neill (Yale University), Catherine M Pagani (Columbia University), Tim Barringer (Ya le Uni­ (University of Natal), Jos Hackforth-Jones (Rich­ (University of Alabama, Tuscaloosa), Sarah Par­ versity), Leonard Bell (University of Auckland), mond Un iversity), David Hansen (Tasmanian sons (UCLA), Jordana Pomeroy (The National Kenneth Bendiner (University of Wisconsin-Mil­ Museum and Art Gallery), Michael Hatt (Univer­ Museum of Women in the Arts, Washington), waukee), Jonathan Black (UCL), Roger Blackley sity of Nottingham), Eleanor Hughes (University Geoff Quilley (Universit y of Leicester), Elizabeth (Victoria University of Wellington), John Bone­ of Califo rnia, Berkeley), Kristina Huneault (Con­ Rankin (University of Auckland), Rom ita Ray hill (University of Leicester), Julie Codell (Ari­ cordia University), Maya jasanoff (Yale Universi­ (Georgia Museum of Art), Mary Roberts (Uni­ zona State University), Li nda Colley (LSE), Joan ty), Sandra Klopper (University of Cape Town), versity of Sydney), Joanna Sassoon (University of Coutu (University of Waterloo), Urmilla De (St Kurt M Koen igsberger (Case Western Reserve Western Australia), Pramila Sharma (Banasthali Catherine's College, Oxford, Pascal Dupuy (Uni­ University), Kay Dian Kriz (Brown Universi ty), Vi dyapith University), David Solkin (Courtauld versity of Ro ucn), Natasha Eaton (University of Juliette Leeb-du Toit (Natal University), Susan Institute), Catherine Speck (University of South Warwick), Simon Faulkner (Manchester Metro­ Lowish (Monash University), Rod Macneil (Uni­ Australia), Tapati Guha Thakurta (Centre fo r politan University), Douglas Fordham (Yale Uni­ versity of California, Berkeley Art Museum), Studies in Social Sciences, India), Sarah Thomas versity), Beth Fowkes Tobin (University of Hawaii Luciana Martins and Felix Driver (Royal Hol­ (The Art Gallery of South Australia), Stephen at Manoa), Mich ael Gaudio (Stanford Universi­ loway), Ian McLean (University of Western Aus­ Vella (Yale University), Emily Weeks (Yale Uni­ ty), Pamela Gerrish Nunn (University of Canter­ tralia), Amy Meyers (Huntington Library and Art versity), Marcus Wood (University of Sussex), bury, Michael Godby (University of Cape Town), Gallery), W J T Mitchell (University of Chicago), Ka riann Yokota ( Yal e University) Tickets are £75 (full-time students £30) and are available from the Tate Box Office (020 7887 8888). ISSUE 12 JUNE 2001 PUBLISHED BY THE PAUL MELLON CENTRE 16 BEDFORD SQUARE, LONDON WClB 3JA TEL 0 2 0 7580 0311 FAX 020 7636 6730 EMAIL [email protected]. UK WWW.PAUL-MELLON-CENTRE.AC.UK THE INTERPRETATION OF GEORGIAN TOWNS Wednesday 18th July 2001 at the Paul Mellon Centre This one-day conference examines not just the conservation and preservation of the historic built environment but also the key question of interpretation. The manner in which a lo ng-estab­ lished ' heritage' area is interpreted deeply affects the way in which historic identity and resonance, the sense of place and the comprehension of personal space is perceived by resident and tourist ali ke. Such issues have recently become the focus for Bed ford Square (east side) London much academic study as well as research and action in the con­ servation, planning and design worlds; this event accordingly Leading academics and conservatio nists from both Britain and seeks to define and compare recent work on this subject by giv­ the United States will deal with case histories as varied as Lewes ing prominence to expert studies on medium-sized Georgian and Williamsburg. Lectures include James Ayers (Bath Preserva­ communities on either side of the Atlantic. tion Trust) on Bath; O rlando Ridout (Maryland Historic Trust) Themes dealt with in the conference sessions will include the on Annapolis; Julian Holder (Heriot-Watt University) on translation of the ubiquitous term 'heritage', the objectives of the Edinburgh; Carl Lounsbury (Colonial Williamsburg Founda­ interpreters, the establishmen t of cross-disciplinary partner­ tion) on Williamsburg; Eddie Booth (The Conservation Studio) ships, the treatment and application of modern contextual on Lewes; Carter Hudgins (Mary Washington College) on design, and of the historic realities exploited, or indeed invented, Charleston and Fredericksburg; and Timothy Mowl (University in the pursuit of the tourist dollar. ofBristol) on Cheltenham. Tickets nre£30 (full-time students£15), including coffee, ten and nn early-evening drinks reception. To book, please contact the Centre. PAINTED LADIES Wo1nen at the Court of Charles II Friday 19tlz October 2001 at the National Portrnit Gallery, London The reign of Charles II is one of the most fascinating, yet neglected, periods in British history. The Paul Mellon Centre and the National Portrait Gallery are co-organising this inter­ national scholarly conference in conjunction with the exhibi­ tion Painted Ladies: Women nt the Court of Charles II (l lth October 2001-6th January 2002), the first exploration and reconsideration of Restoration portraiture in twenty years. The court that established itself after the violence o f the Civil War reflected the character of the King-cynical, easy-going, and promiscuous. Women had a new prom inence at court and in society, and the King's mistresses, drawn from every stratum of society, were the dominant figures. By looking at the context in which these portraits were produced, the conference will reassess assumptions not only about the art of the period but also about cultural politics of the time. Speakers will address various literary, historical, and cultural Peter Lely Diana Kirke, later Countess of Orford (c. 1665-70) aspects of the Restoration Court. Ranging in topics from pop­ ular prints to poetry, the lectures will examine the ways in Speakers include Sir Oliver Millar; Susan Shifr in; Sheila which royal women, m istresses, actresses and female cou rtiers O'Connell (The British Museum); Frances Harris (The British were portrayed and considered, both during their lifetimes and Library); Paulina Kewes (University of Wales); Andrew in later centuries. Walkling; and Steven Zwicker (Washington University) . Ticketsnre£30 (full-time students £15), including coffee, tea and an early-evening drinksreception. To book, please contact the Centre. Further details on events can be obtained from the website at www.paul-mellon-centre.ac.uk/forthcoming/forthcomingevents.html PUBLIC ARTIST, PRIVATE PASSIONS The World ofEdward Linley Sambourne Thursday J3th September 2001 at tlze Paul Mellon Centre This study day is a prelude to the exhibition at Leighton House e Museum (27 September 200 1-13 January 2002). Sambourn Edward Linley Sambournc Pliotogmpliic study: Mrs Cornwallis ( 1895) rose from occasional contributor to chief political cartoonist of the satirical magazine P11nch. His social circle included some o f Lectu res will exa mine Sa mbourne's work, techniques and use o f the m ost important artistic figures of the day such as Frederic, professio nal and amateur models. The speakers will create a con­ Lord Leighton, Marcus Stone, Henry Irving, Luke Fildes and text fo r Sambourne's oeuvre and discuss its relevance to modern Oscar Wilde. The exh ibition illustrates Sambo urne's use of pho­ practice. Speakers will include Dr Alison Smith (Tate Britain), tography to inform his drawings for Punch and how h is interest Professor Leo nee Ormond (Kings College), Simon Popple (Uni­ in the medium led him to create a unique collection of cyan­ versity ofTeeside), Dr Martin Postle (Tate Britai n) and Coli n otypes which came in later life to eclipse his graphic wo rk.