2018 ANNUAL 5 – 7 APRIL 2018 CONFERENCE Courtauld Institute of Art King’s College London The close collaboration between two institutions – involving 2018 ANNUAL CONFERENCE numerous other museum and cultural partners in London – CO-ORDINATOR CHERYL PLATT will set the tone for a conference oriented to ‘looking [email protected] outwards’. 2018 ANNUAL CONFERENCE CONVENORS On the one hand, we challenge art historians and researchers to think about their JOANNA WOODALL Courtauld Institute of Art disciplinary relationships with other affiliated subjects in the arts and humanities KATIE SCOTT (and indeed beyond); on the other, we invite new perspectives on international Courtauld Institute of Art collaborations within the field. MICHAEL SQUIRE For further information, visit www.forarthistory.org.uk King’s College London KEYNOTE SPEAKERS Thursday 5 April (evening), tbc Friday 6 April (evening): TRISTRAM HUNT, Director of the V&A Saturday 7 April (lunchtime): GRISELDA POLLOCK, Professor of the Social & Critical Histories of Art I Director of Centre for Cultural Analysis, Theory and History, University of Leeds FESTIVAL CONFERENCE FEES As part of the 2018 conference on Friday 6 April there will be a Festival, which will be composed of various sessions, complementing the conference proceedings and Early Standard digging deeper into its themes in a discursive and exploratory environment. Full conference £300 £355 We will be investigating topics such as access to art history and knowledge of the (3 days) Full conference subject and corpus, and the alternative ways in which it can be interpreted, through £200 £255 audio description and British Sign Language. The Festival will offer art, music and (3 days) member debate in an informal opportunity for delegates and presenters to think around the Full conference conference and its papers. (3 days) student/ £130 £185 concession VISITS AND TOURS Full conference Visits are open to all registered delegates, but must be pre-booked. Full details (3 days) student/ £100 £155 about Annual Conference visits and tours will appear on the website. concession member BOOKFAIR & EXHIBITORS The 2018 Bookfair will take place in the Great Hall of King’s College London on all 3 Day delegate £180 £235 days of the conference and is free for delegates to attend. Exhibitors include: Day delegate £160 £215 Apollo Magazine, Artifex Press, Bloomsbury, Brill, IB Tauris, John Cabot University, member Laurence King Publishing, Leuven University Press, Lund Humphries, Manchester University Press, MIT Press, Peter Lang, Polity, Princeton University Press, Book online at Reaktion Books, Routledge (Taylor & Francis), Thames & Hudson, Wiley, and www.forarthistory.org.uk Yale University Press. Early booking deadline: 1 March 2018 1 A Bacchanal of Truth Alison Alder (Australian National University School of Art and Design) POSTED EXTRAVAGANZAS: The art of Aron Vinegar, University of Oslo exaggeration and the political poster ‘Look out!’ I read this headline for the Annual Conference as Larne Abse Gogarty (Humboldt Universität zu Berlin) Too a provocation launched in extremis. In the spirit of such an Much: Excess and commitment in contemporary art and interpretation, this session is an exploration of the logic and criticism passion of exaggeration, extravagance, hyperbolics, extremist positions, and excessive statements in and around art, art history, criticism, visual studies, philosophy and politics. It is an attempt to plumb the possibilities for Art and Law: Objects and spaces as legal and the necessity of exaggeration in order to generate new actors modes and thresholds of truth that do not entail adding knowledge to knowledge. Quintilian defined hyperbole as Jack Hartnell University of East Anglia, Norwich ‘the proper straining of the truth’; Thoreau wrote, ‘I am Kevin Lotery Sarah Lawrence College, New York convinced that I cannot exaggerate enough even to lay the This session considers the intersections between visual foundation of a true expression’; Badiou notes that, ‘(All) culture and the law. Art history has long investigated the role truths are woven from extreme consequences. Truth is of the law, from issues of visual evidence and legal always extremist’; and Hanna Arendt provocatively states aesthetics to ideas of artistic originality and authorship. But that ‘all thought is exaggeration’. This panel is not primarily recent scholarship has increasingly drawn attention to the interested in obvious examples taken from high modernism ways in which art can participate in the law’s actual – ‘the age of extremes’ in art and politics – but rather in operation. This session aims to broaden these exploring modes of exaggeration concerning art’s investigations along historical and disciplinary lines by relationship to aesthetics, truth, and politics in and for our tracing the long history of artistic intrusions into legal life, time focusing on moments when art and architecture, broadly Are there different modalities or new techniques that we defined, have functioned as legal actors in their own right. need to invent, and that we might add to those like How have aesthetic objects past and present actively hyperbole, assertion, tautology, rage, ellipses, or polemos? shaped the production and execution of the law as Does postmodernism and much of its aftermath witnesses or juridical subjects in themselves? How have necessarily mark the emergence of a postextremist state artists approached the courtroom as a site of artistic of consciousness, a ‘neo-mediocre climate’? If capitalism is production and intervention? And in what ways has predicated on its ability to produce and absorb all excess, aesthetic production sought to short-circuit legal what are we to do? What about our current political climate structures or forward alternative, even utopian, legal and its extremisms? systems? Tom Wilkinson (The Warburg Institute, London) Honest Legal Architectures Dollars: Why did money start telling the truth during the Matthew Wells (Victoria & Albert Museum / Royal College of German Hyperinflation, and could it do the same today? Art) Architectural Models as Evidence and Actors in the 19th Ingrid Halland (University of Oslo, Norway) ‘Nothing better Century than a touch of ecology and catastrophe.’ On Jean Olga Touloumi (Bard College) Building the Case, c1945 Baudrillard’s attempt to destroy the environment, 1970 Affect and the Courtroom Mara Polgovsky Ezcurra (Queens’ College, Cambridge) Reality Machine: Contested (visual) regimes of truth in a post- Daniel Zolli (The Pennsylvania State University) Bell on Trial: factual era. One exhibition, two Latin American cases Legal authority, agency, and exile in the ‘Piagnona’ of San Marco Amanda Boetzkes (University of Guelph, Canada) Annie Pootoogook’s Realism and the Plenitude of the Object Lela Graybill (University of Utah) The Forensic Eye and the Public Mind: The Bertillon system of crime scene photography Naomi Vogt (University College London) Where’s my magnetic trains and my electric­ness? Exuberance as form in Law and Borderlines the work of Ryan Trecartin and Lizzie Fitch Elsje van Kessel (University of St Andrews) Legal Agency, Emily Watlington (Massachusetts Institute of Technology, Asian material culture, and the freedom of the seas c1600 USA) Decorative, Domestic, Dumb: Lily van der Stokker’s Stacey Vorster (University of the Witwatersrand / University feminist flatness of Amsterdam) Rehabilitating Images of Justice in Post- Apartheid South Africa 2 Johanna Gosse (University of Colorado, Boulder) Border gender, identity, and religious art, and the capacity of art to Land Art: Social practice as transborder legal action in break boundaries regarding conventional understandings of postcommodity’s Repellent Fence (2015) ‘religion’ and ‘faith’. Spike Bucklow (University of Cambridge) The Rood Screen – Gateway to paradise Art and Religion: Theology, the sacred, Honor Wilkinson (Bowdoin College Museum of Art) The and visual culture Journey to Divine Understanding in the Architectural Diagrams of Richard of St Victor’s In visionem Ezechielis Ben Quash, King’s College London Whitney Davis (Berkeley) Presence and Scepticism Ayla Lepine, University of Essex Helena Capkova (Waseda University) Golconde as Concrete When art enters religious territory, it can open new spaces Crystal of Caves: A case of transnational intentional of encounter that provoke, illuminate, challenge, and community architecture disturb. The attachments of religious conviction, meanwhile, can discomfit the disinterested analysis of the Hannah Williams (Queen Mary, University of London) Sacred scholar of material culture. When scholarship in art history Space in the City of Enlightenment: Following religious art connects with research in religious studies and theology, through 18th-century Paris dialogues necessarily open outwards, therefore, onto Catherine McCormack (Sotheby’s Institute of Art) Relic as debates regarding religion and the sacred in visual culture Image and Image as Relic: The body of St Teresa of Avila in and in public and private life. Building on recent scholarship Rome by voices in theology, religion and the arts, including Sally Promey, Graham Howes, Gretchen Buggeln and Jonathan Anderson (Biola University) The Retrieval of Christopher Pinney, this session encourages new Theology in the Artworks of Kris Martin perspectives on diverse meetings worldwide between the Amitai Mendelsohn (The Israel Museum, Jerusalem) Behold sacred and the arts. the Man: Jesus in Jewish and