2021ANNUAL CONFERENCE - PROGRAMME & TIMETABLE 14 - 17 April 2021 forarthistory.org.uk - programme & timetable
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2021 ANNUAL CONFERENCE 14 – 17 April 2021 PROGRAMME & TIMETABLE forarthistory.org.uk
CONTENTS SPONSORS & WELCOME
SUPPORTERS
We would like to acknowledge and thank our On behalf of the Association for Art This year’s conference represents
4 sponsors and supporters for their generous
contributions towards this event.
History, I would like to welcome you to our
47th Annual Conference, the first to be
another first as it was organised with the
collaboration of a Conference Committee
Questions & Answers
presented in a fully ‘virtual’ format. comprising art historians from around the
UK in a variety of areas of study.
We are pleased to be working with
5 colleagues at the University of We are very grateful for the work of the
Fringe Programme 2021 PARTNERSHIPS & COLLABORATIONS Birmingham to put on our biggest committee on both the selection of
Each year we work with one or multiple institutions who help us
conference to date. We are presenting sessions and on keynote speakers. One
most of the sessions from the cancelled of the factors the committee considered
6-7
host and deliver this key international event. For 2021 we have
been working with the Department of Art History, Curating and 2020 event along with a full complement was ensuring not only a broad and diverse
Visual Studies at the University of Birmingham, and museums
Programme at a Glance and galleries in and around Birmingham. of sessions for 2021, making this a four- range of topics, perspectives and
As a place Birmingham has a rich and important history and location. day event with over 350 papers and speakers but also that a variety of
It connects us historically and contemporaneously to vibrant and
presentations from art historians, artists, historical periods was reflected in the
8 often challenging art histories. From its Victorian status as the
‘workshop of the world’ and proximity to the Jewellery Quarter and
the Potteries, to the world’s largest collection of Pre-Raphaelite art
curators, and researchers from all over sessions and among the keynotes.
Bookfair & Meet the Editors, the world.
at Birmingham Museum and Art Galleries, a home for refugees from We are pleased to welcome as keynote
Authors and Publishers Nazism, the cradle of Black British Art in Wolverhampton, and
socially-engaged contemporary arts organisations including Ikon
In addition to presenting new research, speakers: Claudette Johnson, Keith Piper
and Grand Union. hearing leading keynote speakers and and Marlene Smith, artists and founding
9 Even virtually, we hope to bring you a bit of brilliant Birmingham,
and what it has to offer for new encounters with art history.
sharing ideas, events such as this are
important in building and developing
members of the influential BLK Art Group;
Jill Burke (University of Edinburgh) on
Keynotes Our thanks to Matt Clulee, Events Manager at the University of
Birmingham for his time and support during the past year of professional networks. While we have all Experiments in Renaissance Art History
uncertainty and the fantastic Birmingham art history students who adapted well by imparting information at the End of the World; Eliza Garrison
10-11
took on the challenge to support the conference virtually from their
own homes. digitally during the pandemic, facilitating (Middlebury College in Middlebury,
networks has been more of a challenge. Vermont) on Body and Space in the Uta
Session Timetable
To help in this regard (while being mindful Codex; and David J. Getsy (School of the
Wednesday 14 April
of screen fatigue!), we have created a Art Institute of Chicago) on How to Teach
number of events taking place during the Manet’s Olympia After Transgender Studies.
12-13
PRESTEL
conference, with organisations in and
In addition to our Conference Committee,
Prestel is one of the world’s leading publishers of books on around Birmingham, including virtual talks
Session Timetable art, architecture, photography and design. we would like to thank our colleagues at
and tours with the Barber Institute and
Thursday 15 April Prestel’s books are exquisitely designed and visually stunning, the University of Birmingham, particularly
Ikon Gallery, plus socials, and an
from pop culture and fashion to major exhibition catalogues. Elizabeth L’Estrange, Claire Jones and
Prestel is the publisher for art lovers, designers and all those with opportunity to meet with our journal
Greg Salter, who have so generously given
14-15 an eye for beauty.
www.prestel.com
editors. We expect that these more casual
events will help to give participants a
their time to help shape this event into
Session Timetable twitter.com/Prestel_UK one that we expect delegates will find
facebook.com/PrestelPublishing sense of a virtual locus for the conference
Friday 16 April stimulating and enjoyable.
instagram.com/prestel_uk and give attendees an opportunity to get
to know other participants.
16-17 Gregory Perry
Session Timetable CEO,
Saturday 17 April Association for Art History
NOTE: ALL TIMINGS ARE IN BRITISH SUMMER TIME
2 3
QUESTIONS FRINGE
& ANSWERS PROGRAMME
CONVENORS & SPEAKERS SPEAKERS Delegates attending the 2021 17.30 – 18.15 BST FRIDAY 16 APRIL
Q. I have bought my ticket, should I keep the confirmation Q. I am a speaker when do I join my session to present Annual Conference & Bookfair LIVE EVENT
safe? my paper? will also have access to a free Higher Education Committee Open 13.30 - 14.00 BST
varied online Fringe Programme Forum and Launch of Decolonising LIVE EVENT
A. Y
es, your confirmation receipt that you will have received when A. The timetable is set out in blocks of papers ie Paper 1 and 2, that will run over the four days. Art History Resource Portal. Art History in an expanded field: An
you booked will have a reference number (this number is Paper 3 and 4 etc and you will need to ‘join’ your session 30 introduction to the work of the journal.
important as you will need it to access the virtual platform). minutes prior to the start of your pair eg if you are paper 2, you This year’s Fringe offers a mix of live and
If you have lost your confirmation, email:
need to log in 30 minutes prior to the start of paper 1. When pre-recorded events for delegates to enjoy, THURSDAY 15 APRIL 14.00 - 14.20 BST
you are in the Aventri platform you will see a ‘Speaker’ tab and whether you want to go on a virtual tour,
conference@forarthistory.org.uk participate in a talk, socialise with other 13.15 - 14.15 BST LIVE EVENT
there you will find access to your block.
Q. How do I access the Virtual System? delegates, gain new insights or watch things LIVE SOCIAL EVENT Q&A: European Research Council (ERC)
Q. Can I show a PowerPoint presentation? outside of conference times. More information Meet Up: Association for Art History’s with Aneta Barkley, Scientific Officer at the
A. Y
ou will be sent an email 7 days prior to the conference with about each event can be found on the DECR Committee (PhD & Early Career European Research Council Executive
A. Yes you can. It is advisable not to embed videos or clips within
a link to the virtual platform (Aventri). To enter the platform, Conference Fringe Programme webpage: Researchers). Agency.
the presentation and to show them separately during your
you will need the ticket reference number. https://eu.eventscloud.com/
presentation.
website/2065/fringe-programme/
Q. Can I browse the system and get familiar with its layout 13.15 - 13.45 BST 17.45 - 18.00 BST
Q. How do I upload a presentation to Aventri on the day?
prior to the conference? PRE-RECORDED EVENT LIVE EVENT
A. When you ‘join’ your session the conference assistant will
A. Y
es, once you have received the link, we strongly advise you
guide you through how to upload your presentation onto the WEDNESDAY 14 APRIL Presentation: European Research Council
(ERC) by Aneta Barkley, Scientific Officer at
Meet the Authors of ‘A Gust of
Photo-philia’ and ‘Arrival Cities’,
to access the Virtual Platform, do the system checks on the
Aventri system. the European Research Council Executive Leuven University Press.
computer/laptop you will be using and also familiarise yourself 10.30 - 11.00 BST
with the layout. Q. I am unable to present my paper due to connectivity issues Agency.
PRE-RECORDED EVENT
or illness – what shall I do? Presentation: European Research Council 17.45 - 18.05 BST
Q. I have bought single multiple day tickets, will one ticket
access all days? A. If you are unable to present your paper live, we will upload your (ERC) by Aneta Barkley, Scientific Officer at 13.30 – 13.50 BST LIVE EVENT
pre-recorded presentation. the European Research Council Executive LIVE EVENT Q&A: Know Your Image Rights
A. I f you have bought for example, 2 single day tickets you will Agency. Meet the Publisher: Intellect. with Elizabeth Walley and Victoria Hooper at
need to make sure you log in with the correct reference number DELEGATE The Design and Artists Copyright Society
which corresponds with the day of your ticket. If you have bought (DACS).
Q. I have bought my ticket, should I keep the confirmation 13.45 - 14.15 BST
a Full Conference ticket the same reference number can be used 10.30 – 11.30 BST
safe? PRE-RECORDED EVENT
for every day. PRE-RECORDED EVENT
CONVENORS
A. Yes, your confirmation receipt that you will have received when Charisse Kenion and Vanley Burke in
Workshop: Know Your Image Rights SATURDAY 17 APRIL
you booked will have a reference number (this number is by Elizabeth Walley and Victoria Hooper at
conversation, Ikon Gallery.
Q. I am a convenor when do I log into my session on the day? important as you will need it to access the virtual platform). The Design and Artists Copyright Society 13.30 – 14.00 BST
(DACS). PRE-RECORDED EVENT
A. W
e ask all convenors to log into their session 45 minutes prior If you have lost your confirmation, email: 11.00 - 11.30 BST Artists Talk: Haroon Mirza, Jack Jelfs and
to the start of their session. You will virtually meet with your conference@forarthistory.org.uk PRE-RECORDED EVENT Hoor Al Qasimi, Ikon Gallery.
conference assistant who will assist you through your session. 17.00 - 18.30 BST
Q. How do I access the Virtual System? Workshop: Know Your Image Rights by
LIVE EVENT
Q. I am a single convenor and am unable to convene my Elizabeth Walley and Victoria Hooper at The
A. You will be sent an email 2 days prior to the conference with Talk & Q&A: ‘Objectifying Ageing’ at
session due to connectivity issues or illness? Design and Artists Copyright Society (DACS). 13.30 – 14.00 BST
a link to the virtual platform (Aventri). To enter the platform, you The Barber Institute.
PRE-RECORDED EVENT
A. I f you are a single convenor, we strongly advise that you seek will need the ticket reference number.
17.30 - 18.15 BST Presentation: European Research Council
a back-up convenor who can assist or replace you. It may be 17.40 - 18.00 BST
Q. Can I browse the system and get familiar with its layout LIVE EVENT (ERC) by Aneta Barkley, Scientific Officer at
one of your speakers or a colleague who is already attending LIVE EVENT
prior to the conference? Meet the Editors & Chapter Authors the European Research Council Executive
and therefore has a ticket to enter the Virtual Platform system. Meet the Publisher: Yale University Press
Under the Skin: Feminist Art and Art Agency.
Please inform Cheryl of your back-up convenor so that they Y. Yes, once you have received the link you can familiarise yourself – Introducing the A&AePortal.
can be quickly logged into your session as a host to enable them with the layout. Histories from the Middle East and North
to support your session. In the event of no shows, we will ask a Africa Today (Oxford University Press, 2020). 13.30 - 14.00 BST
Q. I have bought single multiple day tickets, will one ticket
member of the Conference Committee to support the session. PRE-RECORDED EVENT
access all days? 17.40 – 18.20 BST
17.30 – 18.15 BST Workshop: Know Your Image Rights
Email Cheryl at: LIVE EVENT
A. If you have bought for example, 2 single day tickets you will LIVE EVENT by Elizabeth Walley and Victoria Hooper at
conference@forarthistory.org.uk Workshop: Breaking the Mould: Sculpture
need to make sure you log in with the correct reference number Meet Members of the Association for The Design and Artists Copyright Society
by Women since 1945.
which corresponds with the day of your ticket. If you have bought Art History’s Museums and Galleries (DACS).
a Full Conference ticket the same reference number can be used Committee.
for every day.
4 5
PROGRAMME
AT A GLANCE
WEDNESDAY 14 APRIL THURSDAY 15 APRIL FRIDAY 16 APRIL SATURDAY 17 APRIL
MORNING EVENING MORNING EVENING MORNING 16.10 – 17.25 BST MORNING AFTERNOON
PROGRAMME PROGRAMME PROGRAMME PROGRAMME PROGRAMME Parallel Sessions PROGRAMME PROGRAMME
10.00 – 10.30 BST 17.30 – 18.15 BST 09.30 – 09.45 BST 17.45 – 18.15 BST 4 paper sessions:
09.30 – 09.45 BST 10.00 – 10.15 BST 13.30 – 14.30 BST
Welcome Fringe events including online Welcome Fringe events including online Papers 3 and 4,
Welcome Welcome Refreshment Break
exhibition or gallery visits, exhibition or gallery visits, and closing comments.
10.30 – 12.00 BST 10.00 – 11.15 BST 10.00 – 11.15 BST 10.30 – 11.45 BST 14.30 – 15.45 BST
socials, workshops. Details socials, workshops. Details 8 paper sessions:
Fringe events including online Parallel Sessions Parallel Sessions Parallel Sessions Parallel Sessions
can be found on page 5. can be found on page 5. Papers 7 and 8,
exhibition or gallery visits, Introduction Introduction,
socials, workshops. Details Papers 1 and 2. and closing comments. 6 paper sessions: 6 paper sessions:
Papers 1 and 2.
can be found on page 5. Introduction. Papers 5 and 6
18.30 – 19.30 BST 11.15 – 11.45 BST 18.30 – 19.30 BST 16.10 – 18.05 BST
11.15 – 11.45 BST Papers 1 and 2. and closing comments.
K E Y N OT E Refreshment Break KE Y NOTE 5 paper sessions:
Refreshment Break
Paper 5 8 paper sessions: 8 paper sessions:
AFTERNOON An in – conversation with 11.45 – 12.50 BST Eliza Garrison (Middlebury 11.50 – 13.05 BST and closing comments. Introduction. Papers 7, 8 and closing
PROGRAMME Claudette Johnson, Keith Parallel Sessions College in Middlebury, Parallel Sessions Papers 1, 2 and 3. comments.
Piper and Marlene Smith, Papers 3 and 4. Vermont) on ‘Body and Papers 3 and 4 (and closing
12.30 – 13.50 BST artists and founding members Space in the Uta Codex’. EVENING 11.45 – 12.15 BST
comments for 4 paper
Parallel Sessions of the influential BLK Art PROGRAMME Refreshment Break 16.15 – 17.15 BST
sessions).
Introduction Group. AFTERNOON K EYN OT E
19.30 BST 12.20 – 13.25 BST
Papers 1 and 2. PROGRAMME 17.45 – 18.15 BST
Conference close: Parallel Sessions Jill Burke (University of
AFTERNOON Fringe events including online
13.50 – 14.20 BST end of day two Edinburgh) on ‘Experiments
19.30 BST 13.00 – 14.30 BST PROGRAMME exhibition or gallery visits, 6 paper sessions:
Refreshment Break in Renaissance Art History
Conference close: Refreshment Break socials, workshops. Details Papers 3 and 4.
at the End of the World’.
14.25 – 15.30 BST end of day one. 13.10 – 14.30 BST can be found on page 5.
13.15 – 14.15 BST 8 paper sessions:
Parallel Sessions Refreshment Break
Fringe events including online Papers 4, 5 and 6.
Papers 3 and 4. 17.15 BST
exhibition or gallery visits, 14.30 – 15.35 BST
18.30 – 19.30 BST Conference close:
15.30 – 16.00 BST socials, workshops. Details Parallel Sessions
KEYNOTE end of event
Refreshment Break can be found on page 5. 4 and 5 paper sessions:
David J. Getsy (School of the
16.00 – 17.15 BST 14.30 – 15.35 BST Intro, Papers 1 and 2.
Art Institute of Chicago) on
Parallel Sessions Parallel Sessions 6 and 8 paper sessions: ‘How to Teach Manet›s
Papers 5 and 6. Papers 5 and 6. Papers 5 and 6. Olympia After Transgender
Closing comments. Studies’.
15.40 – 16.10 BST 15.40 – 16.10 BST
Refreshment Break Refreshment Break
16.10 – 17.25 BST 19.30 BST
Parallel Sessions. Conference close:
Papers 7 and 8. end of day three
Closing comments.
6 7
BOOKFAIR MEET THE AUTHORS, KEYNOTES
14 – 17 April EDITORS & PUBLISHERS
This year’s bookfair will take place IKON GALLERY An opportunity to meet live with More information about each of
online via the conference website W ikon-gallery.org/ publishers, editors and authors. the keynotes can be found on
and the conference virtual T ikongallery the Conference Keynote
platform. During the conference I ikongallery More details about each event can be found webpage.
click on the ‘Bookfair’ tab on the F ikongallery on the Conference Fringe webpage:
navigation bar within the virtual https://eu.eventscloud.com/
https://eu-admin.eventscloud.com/
platform to take advantage of INTELLECT
website/2065/fringe-programme/
website/2065/keynotes-2021/
conference only offers. W intellectbooks.com
T @IntellectBooks
The following exhibitors have virtual stands I @intellectbooks
WEDNESDAY 14 APRIL
prior, during and post conference. Visit their F @IntellectBooks
stand before and after the conference at: 17.30 – 18.15 BST
LIVE EVENT WEDNESDAY 14 APRIL 2021 THURSDAY 15 APRIL 2021 FRIDAY 16 APRIL 2021 SATURDAY 17 APRIL 2021
https://eu.eventscloud.com/ LEUVEN UNIVERSITY PRESS
Meet the Editors & Chapter Authors 18.30 – 19.30 BST 18.30 – 19.30 BST 18.30 – 19.30 BST 16.15 – 17.15 BST
website/2065/bookfair/ W lup.be/collections/ro_aah2021
Under the Skin: Feminist Art and Art Histories An in-conversation with Keynote lecture with Eliza Keynote lecture with David Keynote lecture with Jill Burke,
T @LeuvenUP
from the Middle East and North Africa Today Claudette Johnson, Keith Piper Garrison, Middlebury College in J. Getsy, School of the Art University of Edinburgh
F @leuvenup
(Oxford University Press, 2020). and Marlene Smith, artists and Middlebury, Vermont. Institute of Chicago.) Experiments in Renaissance Art
ART HISTORY
founding members of the Body and Space in the Uta Codex How to Teach Manet’s Olympia History at the End of the World
W arthistoryjournal.org.uk LUND HUMPHRIES
influential BLK Art Group. After Transgender Studies
T @aah_journal W lundhumphries.com THURSDAY 15 APRIL
I @ aah_journal T @LHArtBooks 13.30 – 13.50 BST
I @lhartbooks LIVE EVENT
BLOOMSBURY F @LHArtBooks Meet the Publisher: Intellect.
W bloomsbury.com/uk
T @bloomsburyacad MANCHESTER UNIVERSITY PRESS
17.40 – 18.00 BST
W manchesteruniversitypress.co.uk
LIVE EVENT
BOYDELL & BREWER T @LeuvenUP@ManchesterUP
Meet the Publisher: Yale University Press
W boydellandbrewer.com/aahaconf F @ManchesterUniversityPress
- Introducing the A&AePortal.
T @boydellbrewer I @manchester_university_press
F @boydellandbrewer
I @boydellandbrewer MIT PRESS
FRIDAY 16 APRIL
W mitpress.mit.edu
13.30 – 14.00
BREPOLS AND HARVEY MILLER T @mitpress
LIVE EVENT
PUBLISHERS F @mitpress
Art History in an expanded field: An
W brepols.net I @mitpress
introduction to the work of the journal.
W harveymillerpublishers.com
T @Brepols PRINCETON UNIVERSITY PRESS
F @Brepols W Princeton.press/aah21 17.45 – 18.00
T @PrincetonUPress LIVE EVENT
BURLINGTON MAGAZINE F @PrinctonUniversityPress Meet the Authors of ‘A Gust of Photo-
W Burlington.org.uk I @princetonupress philia’ and ‘Arrival Cities’ Leuven University
T @BurlingtonMag Press.
F @burlingtonmag YALE UNIVERSITY PRESS
I @theburlingtonmagazine W yalebooks.co.uk
T @yalebooks
COMBINED ACADEMIC PUBLISHERS F @yalebooks
W combinedacademic.co.uk I @yalebooks
T @CAP_Ltd
8 9
Wednesday 14 April 2021
ALL TIMINGS IN BST
INTRO PAPER 1 PAPER 2 PAPER 3 PAPER 4 PAPER 5 PAPER 6
SESSION
NUMBER
SESSION FROM 10.00 - 10.30 - 12.30 - 12.45 - 13.20 - 13.50 - 14.25 - 15.00 - 15.30 - 16.00 - 16.35 - 17.05 - 17.30 - 18.30 -
NAME 09.00 10.30 12.00 12.40 13.15 13.50 14.20 14.55 15.30 16.00 16.30 17.05 17.15 18.15 19.30
Art History, Theory and Ecological Listening: Calder Fish Against the System: Helen The Work of Art in the Age Realism in Fragments: Wang Material Communities: Living Landscape Representation
Practice for an Ecological Harben’s Bodies of Water Mayer and Newton Harrison’s of Ecological Exposability Youshen’s and Birdhead’s ‘with’ the landscapes of the and Sublime in the Age
1 Emergency Chanelle Lalonde Portable Fish Farm (1971)
Francesca Curtis
Lucy Steeds Urban Ecological Mosaics
William Schaefer
Anglo-Scottish Borderland
Ysanne Holt
of Anthropocene
Olga Smith
Andrew Patrizio and
Lucy Whelan
Changing Approaches to Representational Revolutions: English House, French Style: Partners in Prints: Jacopo The Cartographic Frontispiece Of Britons-cum-‘Others’: Discussion
Histories of British Art, Trompe l’oeil still life paintings, Striking a fashion coup with Amigoni, Josef Wagner and as an Imperial Art Form in The Imperialising force of
2 1660–1735 medley prints and collage in
the long 17th century
tapestry in the reign of
William and Mary
the development of the British
print market
Restoration Britain
Peter Moore
‘Britishness’ in colonial
American portraits
Lydia Hamlett and Freya Gowrley Amy Lim Katherine McHale Susan Rawles
Claudine van Hensbergen
Craft and War Fighting the War through ‘To Exercise the Mind and Crafting Resistance in and Holding onto the Thread: Keepsakes of Conflict: Discussion
Transnational Maternal Body in Healthy Activity’: after Auschwitz: The case Latvian folk costume in A productive duality
3 Jennifer Way Solidarity: Examining the cultural
objects of the 1958 Women’s
Craft, rehabilitation and
masculinity during the
of Lisa Pinhas
Anne Röhl
post-war displaced
communities
Julia Krueger and
Heather Smith
Caravan of Peace collection Second World War Alida Jekabson
Valeria Fulop-Pochon Imogen Wiltshire
Material/Immaterial: Decentred Space in The Matter of Darkness: Immaterial Matter: The Materiality and Double Discussion
An in-conversation with Claudette Johnson, Keith Piper and Marlene Smith, artists and founding members of the influential BLK Art Group
The lives (and afterlives) Claire Falkenstein’s Suns Rothko’s late works as politics of subverting Disappearance in Doris
4 of objects Elizabeth Buhe transformational objects
Lynn M. Somers
‘feminine’ space(s) in Francesca
Woodman’s Some Disordered
Salcedo’s Atrabiliarios
Jamie DiSarno
Lynn M Somers Interior Geometries
Márcia Oliveira
Matter, (Im)materials and Neomateriality and Rebuild Curve: On the This is Your Wake-up Call The Artist as Avatar: Resistance Digital Art in the Discussion
Materiality: On the life Cyberfeminist Artistic materialisation of virtual Sarah Cook Redefining materiality Caribbean and Latin America:
5
of digital artworks Practices, Then and Now models in contemporary through LaTurbo Avedon Techno-Marronage and
Jen Kennedy art fabrication Stephanie Kang Low Tech in Cuba and
Beryl Graham and Frank Bauer Chile (2000–2019)
Alexandra Moschovi Mónica R. Ravelo García and
Álvaro Cárdenas Castro
Museums for the Global Respect, Reciprocity, ‘Rising to the Occasion’: Museums and anti-racist Curating Communities: Discussion
Majority: Expanding the Responsibility: Indigenous Centring new models activism Co-creating a human-centred
6 limits of museum practice values in curatorial praxis
Diana Tuite and
of collaboration in
institutional curating
Adiva Lawrence museum
Sandro (Alexander) Debono
Jennifer Reynolds-Kaye and Jennifer Neptune Georgiana Uhlyarik
Welcome from the Association for Art History
Opening Comments by Session Convenors
Maryam Ohadi-Hamadani
Closing comments by Session Convenors
Political Appropriations Living with Uncle Sam in Borrowed Images in ‘Poor Images’ and Memes as ‘Blood Coming Out of Her Colectivo Sociedad Civil: Appropriating the Body:
the Islamic Republic of Iran: 16th-Century Peasant Icons of the Post-digital Whatever’: Sarah Levy’s Performing civil disobedience Coalition-making as a feminist
7 Elke Krasny and Lara Perry Anti-American iconography
and the pictorial jihad
Pamphlets and their
Political Message
Present
Helena Schmidt and
menstrual portrait of Trump
Camilla Mørk Røstvik
in Peru
Hansel Sato
strategy in contemporary art –
for and against neoliberal
Virtual Bookfair
Katy Shahandeh Jonathan Trayner Sophie Lingg politics?
Fringe Events
Fringe Events
Hana Janečková
Break
Break
Representing the Nation: Introduction Avoiding the ‘Omnium European National Museums Representing National Heroes Britain of the South: The role Who is the Britain within Tate
The historic and continuing Freya Spoor and Gatherum’: National identity Rhetoric as Transnational Actors: of Britain in New Zealand’s Britain: Or how can Tate critique
8
role of national art Neil Lebeter and collection building Sofia Mali Nordic studio museums national art institutions notions of ethno-nationalism
institutions Melanie Polledri Charlotte Ashby Anya Samarasinghe when initiating safe(r) space
for People of Colour in
Freya Spoor and a post-Brexit Britain?
Neil Lebeter Janine Francois
‘The Book of the Future’: Polaroid, Portrait, Page: ‘To Inhabit, Uneasily, the Cutting In: Gerhard Richter’s The Book as Stage: Ugo Mulas’ Walker Evans’ Physiognomies
Photobooks between disciplines Richard Hamilton and Intersection’: Germaine Krull photobooks New York: The New Art Scene Stephanie Schwartz
9 Fiona Allen,
the photobook
Kevin Lotery
and the photographic book
Max Boersma
Matthew Bowman Gloria Boeri
Simon Constantine and
Daniel Hartley
The Real Price: Between art Joseph Gillott: A Collector The True Value of Art: What’s in Anonymity? An Going Public: International Emerging Models for Emerging Telling Stories: Art and financial
10
and the (art) market Commoditizing Art in 19th Investment returns using Insight into the market for art collectors in Sheffield Practices: A gallerist’s true crime
Century Britain costs of production indeterminate works of art Ashley Gallant perspective Monica Steinberg
Bill Balaskas Joshua Eversfield Jenkins Amy Whitaker and Anne-Sophie V.E. James Gardner
Roman Kräussl Radermecker
Theatre, Art and Visual The Tableau of the Féerie and Art, Spectacle and Control: Paul Delaroche’s Assassination Before and After the Duel: Time and Again: Staging Panoramic Spectacle of History
Culture in the 19th Century Romantic Visual Aesthetics: Copyright and visual culture of the Duc de Guise and the mise Delaroche in the genealogy Pompeii in 19th-century in Contemporary Museum
11
From the drama of human in the 19th century en scène of Romantic Drama of Gérôme’s Duel after the London Practices: Yadegar Assisi’s
Patricia Smyth, intrigue to the pre-eminence of Elena Cooper Patricia Smyth Masquerade Sophie Thomas Pergamon Panorama under the
Jim Davis, sensation and wonder Stephen Bann light of Lawrence Alma-Tadema
Kate Newey and Marika Takanishi Knowles and Jean-Léon Gérôme
Kate Holmes Gülru Çakmak
Toxic Masculinity (Classical ‘A Kind of Love-as-Violence, Redefining Public Space, Regenerating Italian Masculinity Greek/Russian Heroes: Losing Control: Body Art’s Delacroix’s Misogyny
to Contemporary) and Violence-as-Love’: Jenkin Activism and Feminist Art in after the First World War: Classical nudes by Andrei Toxic Masculinity, c. 1970s Allison Leigh
12 Carol Richardson and
Van Zyl’s Looners (2019),
gendered violence and pleasure
Pakistan under Zia-ul-Haq’s
Islamisation Regime
Gabriele D’Annunzio and the
Futurists during the 1919
Ivanov
Weronika Malek-Lubawski
Kristen Carter
Lucy Weir in performance art Amina Ejaz occupation of Fiume (Rijeka)
Harriet Curtis Ana-Maria Milčić
Troubling Borders: Art Collective Re-worlding: Queer Across Borders and Firewalls: Iranian Art and the Global: Northern Ireland on the Destroying the Art Object Discussion
worlds in sites of conflict curatorial models Collective action, community Cementing and circumventing Borders of Documentary to Revel in the Debris:
13 Edwin Coomasaru,
Quinn Garrison and Electronic Civil
Disobedience at the US/
the border
Leili Sreberny-Mohammadi
and Abstraction
Catherine Spencer
An exploration of Maria
Kulikovska’s Army of Clones and
Sarah Kelleher and Mexico border Let Me Say: It’s Not Forgotten
Rachel Warriner Elara Kyffin Shurety Kalyna Somchynsky
Workshop: Working Together Presentations Presentations Workshop Discussion Workshop Discussion
to Expand the Pool of Art
14
History Students
Hilary Robinson and
Edward Wouk
10 11
Thursday 15 April 2021
ALL TIMINGS IN BST
INTRO PAPER 1 PAPER 2 PAPER 3 PAPER 4 PAPER 5 PAPER 6 PAPER 7 PAPER 8
SESSION
NUMBER
SESSION FROM 09.30 - 10.00 - 10.10 - 10.45 - 11.15 - 11.45 - 12.20 - 13.00 - 14.30 - 15.05 - 15.40 - 16.10 - 16.45 - 17.15 - 17.45 - 18.30 -
NAME 09.00 09.45 10.10 10.40 11.15 11.45 12.15 12.50 14.30 15.00 15.35 16.10 16.40 17.15 17.25 18.15 19.30
Challenging Legacies Space, Place and Performativity A Landscape for War – This Place is Sacred: Ntaba Occupying Space: Land art From Louverture to Lenin: Haiti, Queering the Soil: Reclaiming Closing and Reopening of The ‘In-between Space’ in
in Post-Colonial and in Marco Cianfanelli’s Shadow Depictions of the Scottish kaNdoda Mountain and the Red Power movement, Russia and the dilemma of landscape, place and identity Memory and Identity in O Brasil, the Europa and the Bull Myth
1
Post-Socialist Notions Boxing Gàidhealtachd, trauma and Thando Mama c. 1965–78 post-coloniality in queer artistic practices in from Jaime Lauriano through its Visual Representation:
of Place Brenda Schmahmann militarism in the era of Scout Hutchinson Yulia Tikhonova Cyprus Fernanda Bernardes Constructing cultural narratives
post-colonialism Elena Parpa Albertoni within and throughout Europe
Karen von Veh and Alex Boyd Themis Veleni
Landi Raubenheimer
Connectivity, Transcultural Visualising Kingship in Southern Africa and Indian Photographic Entanglements: Defiant Devices: Querying On the Mimetic Qualities of Interwoven Entanglements: Dynamics from the West: Aesthetic Influences of
Entanglements, and the Early Solomonic Ethiopia Ocean Interactions: What we Doric column imperial studio African aesthetics, hybrid Bowls, Coins and Mosques on How Dyula weavers are finding Elements of Western street Cultural Nationalism and
2
Power of Aesthetic Choices Jacopo Gnisci know, what we think we know backdrop in Cameroon identities and photographic the Medieval Swahili Coast creative roots in the past, carnival in the celebration of Decolonisation in Nigerian
in Africa and what we don’t know Valentine Nyamndon expression across Africa Jeffrey Fleisher aesthetic adaptations in Oranyan Festival Contemporary Art
Shadreck Chirikure Clare Patrick and the present, for design Emmanuel Bola Akinpelu Jonathan Adeyemi
Vera-Simone Schulz and Stephani Müller responses in the future
Abidemi Babatunde Babalola Emma Wingfield
Contemporary Art, Nurturing Relationships across Other People’s Practices: Waiting Room: A case study on Gender Scars: Wounds, trauma Queering Biotechnologies: Histories of Black Women and Bodies Speaking: Embodiment, Curare: On taking care –
Health and Medicine Art, Health and Medicine Who are the Other People? women healers and patients and recovery through women Redefining gender the Medical Archive: Performing illness and the poetic medicine, history, botany
3
Catherine Baker Sheelagh Broderick on the periphery of medicine artists in China and beyond representation through trauma and healing in the era materiality of puppetry/ and art in Uriel Orlow’s work
Imogen Wiltshire and Waiting Room Project Rachel Marsden and contemporary medical of Black Lives Matter object practice Vanessa Badagliacca
Fiona Johnstone Flóra Gadó, Eszter Lázár, Linda Jean Pittwood practices in 21st-century Evi Papadopoulou Marina Tsaplina
Edina Nagy and Eszter Őze moving-image art
Break & Fringe Events
Elisabetta Garletti
Keynote lecture with Eliza Garrison (Middlebury College in Middlebury, Vermont) on ‘Body and Space in the Uta Codex’
Critical Digital Art History: Critical Digital Art History 1: Critical Digital Art History 1: Critical Digital Art History 1: Critical Digital Art History 1: Critical Digital Art History 2: Critical Digital Art History 2: Critical Digital Art History 2: Critical Digital Art History 2:
Break
Break
Interface and data politics Institutions and Platforms Institutions and Platforms Institutions and Platforms Institutions and Platforms Data and Critical Theory Data and Critical Theory Data and Critical Theory Data and Critical Theory
in exhibitions, museums The Age of Datum in Art History Global Digital Museum The Concealed Door: Digital Expanding the Vitrine: Co- Towards a Critical Technical Agents of Mediation: What is Relational Materialism Indexicality in the Digital
4 and collections or Data as a Methodological
Paradigm
Narratives: Representation,
authorship and audiences
interfaces and art audiences
Valentina Vavassori
Curation in digital space (artists,
young people and researchers)
Practice in Digital Art History
Leonardo Impett and
at stake at the interface?
Kitty Barneveld
and Technoecological Sense –
A philosophical approach to
Repository of the Online
Picasso Project (OPP)
Anna Dahlgren and Valeria Federici Maribel Hidalgo-Urbaneja Leah Lovett, Fabian Offert digitisation Enrique Mallen
Amanda Wasielewski Valerio Signorelli and Sebastian Rozenberg
Duncan Hay
Displaying Art in the Early ‘A Curious Collection From Ordinary to Extraordinary: The Ephemeral Façade of Displaying Art in a Sacred The Discourse of the Salon ‘A Treasure of Riches and Royal Spectacles: Exhibition The Imagery of the Exhibition
Modern Period (1450-1750): of Pictures’: A 1697 Domestic space and the Cardinal de Solis’ Palace: Politics Space: The artworks for the Isabelle Pichet Curiosities’: Politics of display practices and the Académie Space in the Early Modern
5 Exhibiting practices and
exhibition spaces
Edinburgh auction
Antonia Laurence-Allen
display of art
Hila Manor
and aesthetics in 18th century
Rome
Triunfo of St Ferdinand in
Seville Cathedral (1671)
at the Garde-Meuble de la
Couronne, 1680–1789
in 18th century France
Mandy Paige-Lovingood
Period: Reasons for a research
Pamela Bianchi
Ginevra Odone Carmen González-Román Barbara Lasic
Welcome from the Association for Art History
Pamela Bianchi and Hilary Macartney
Opening Comments by Session Convenors
Closing comments by Session Convenors
Exhibiting Craft: Histories, Marcia Tucker’s Domestic Displaying technical gestures Exhibiting Greek Embroidery Crafting Italy: Intersections Beyond Craft: Exhibiting Textile Craft as Contemporary: The ‘Shifting Ground’: The Glasgow Exhibitions of British Craft
6
Contexts, Practices Politics: Art and Craft in the in craft-related exhibitions in Britain during the Second of art, craft and design in the practices in the art museum Museo del Barro in Asunción Society of Lady Artists and between the Wars
1990s Inés Moreno World War exhibition Italy at Work: Her Ann Coxon Sofia Gotti altering Glasgow’s exhibition Imogen Hart
Claire Jones and Elyse Speaks Lenia Kouneni Renaissance in Design Today culture
Inês Jorge Kate Devine Karen Mailley-Watt
Virtual Bookfair
Fringe Events
Female Art Dealers in A Life in Art: Revealing the Modern Gallerists: Women Re-Evaluating the Duchess The Hanover Gallery and Lea Bondi Jaray in the Mirror Ruth Borchard as Collector and Modernist Innovator: Peggy Alannah Coleman: Curating
7
Mid-20th-Century Britain impact and methods of Lucy and the retail of craft in interwar of Cork Street: Lillian Browse Queer Representation in of Mary Swanzy Commissioner of Modern Guggenheim and Guggenheim international post-war art in
Wertheim, patron, collector London Helena Cuss Post-War London Cai Lyons British Self-Portraits Jeune, London 1938–39 London
Abi Shapiro and and art dealer Helen Ritchie Cherith Summers Philip Vann Simon Grant Simon Pierse
Sarah Victoria Turner Karen Taylor
Global Art History and the The Abbey as an Artist Colony Peripheral Visiting: Gathering The Early Black Printmakers Techno-Utopias as Method: Rampaging the Global in Art Unsettling the archive: Women A Polyphony of Encounters Position Paper and
Coffee break
led by Deniz
Imbalance of Power Rex Butler and through the image in South Africa Nat Muller in conversation History: Decoloniality and the and the Danford Collection Barbara Preisig Roundtable Discussion with
Screenings
Screening
8
Soezen
A.D.S. Donaldson Astrid Nicole Korporaal in Pfunzo Sidogi with Heba Y. Amin work of Kent Monkman Stacey Kennedy Dorothy Price
Khadija von Zinnenburg Carroll, conversation with Elizabeth Nat Muller and Heba Y. Amin Renate Dohmen
Stacey Kennedy and Povinelli and The Karrabing
Azadeh Sarjoughian Film Collective
Reanimating the Past: ‘A Ballet is a Painting’: Research- ‘Animated Affects’: An essay Rodin and Pain Ambidextrous Stoss Warhol in Safariland ‘A Vitalisation in Space’: African Embodying Gu: The Stereoscopic Sites:
Embodied knowledge as ing ballet masters’ drawings by on applying 17th-century Natasha Ruiz-Gómez Ruth Ezra John R. Blakinger American artists reinvent reproduction of antiquities Theories of embodiment and
9 art-historical method means of line and gesture
Pauline Chevalier
gesticulation to dance
reconstruction
African sculpture at
mid-century
in High Qing China
Kexin Ma
axonometric design, c. 1850
J. English Cook
Juliet Bellow and Anastasia Zolotukhina Abbe Schriber
Meredith Martin
The Big Screen: Art history British New Wave Cinema Inter(In)Animations between A Studio Picture Pictures a ‘The Art of the Screen’: George Films on Art: Artistic innovation The Black Urban Film as The Rainbow’s Gravity: Roundtable Discussion
and British cinema as Intermedial Phenomenon: Film and Early Performance Art Studio: On Alexander Korda, Pearson, Edward Carrick and and the art-film dilemma in a Social Aesthetic Chromatic materiality in
10
(Sponsored by The Paul Investigating visual style in in Britain: Ian Breakwell and Mike Rembrandt and Robert Vas the role of the artist in British 1970s Scotland Clive James Nwonka British painting and cinema
Mellon Centre) A Taste of Honey (1961) through Leggett’s UNWORD (1969–70) John Wyver cinema Marcus Jack Kirsty Sinclair Dootson
contextualised ekphrasis Heike Roms Inga Fraser
Mark Hallett and Melanie Williams
Lynda Nead
Break & Fringe Events
The Social Life of Sculpture Transatlantic Nelsons: Material Suspended Partnership: Deborah, Jerusalem and Sculpture and Holocaust Phantoms: Lynda Benglis, Dressing Images: Sculpture and ‘Food for Thought’: Spatial and Intimacy and Public Space:
11
simulations and imperialist The sculpting of Rhodesian The City in Her Desolation Memory in 1990s America Robert Smithson and the sumptuary law in 18th-century cultural memory in the work Lydia Ourahmane’s ‘The
Christian Berger and ironies in Vieux-Montréal race relations Leah Modigliani Chloe Julius hyperventilation syndrome New Spain of Saudi artist Maha Malluh You in Us’
Break
Break
Heather Diack Dominic Hardy Vajdon Sohaili circa 1970 Samuel Luterbacher Khulod M. Al-Bugami Natasha Adamou
Kenneth White
The Virgin as Auctoritas: The Photios and the Image of the The Theotokos and the Widow Elevation of Mary’s Authority The Coronation of the Virgin Icons of Authority: New light on ‘All Glory is in the King’s Sainte Foy and the Medieval Female Authority, Ecclesiology,
authority of the Virgin Mary Mother of God in Hagia Sophia, of Zarepta: Women’s authority in Late Antiquity: Her depiction as the Queen of City-States the competition between Daughter’: Depictions of the Imaginary of Female Sacred and Micro-Architecture in
12
and female moral–doctrinal Constantinople as widows and prophets on the jewelled throne and Kayoko Ichikawa images and relics in Trecento Virgin as Empress in the late Power Scandinavian Medieval Art
authority in the Middle Ages Mary B. Cunningham Barbara Crostini the footstool Rome Byzantine world Bissera V. Pentcheva Kristin B. Aavitsland
(Sponsored by ICMA) Ernesto Mainoldi and Claudia Bolgia Andrei Dumitrescu
Natalia Teteriatnikov
Francesca Dell’Acqua
Why Trompe l’Oeil? The Narcissus’ Pool and the Sight, Presence and Feeling: Beyond Trompe l’Oeil: Re-Mediation and Feminine Artificiality in the 18th-Century Relics and Replicas: John F. Wassily Kandinsky and the A Contemporary Take on
Art of Deception Across Reflection of Deceptive Art Trompe l’oeil and the evocation John Singleton Copley’s Space in High Qing China British Country House Dinner Peto’s Reminiscences of 1865 Gestalt Laws of Visual Trompe l’Oeil: Michelangelo
13
the Boundaries of Time in Pompeii of empathy in late Medieval vital portraits in enlightened Chih-En Chen Alyssa Myers Hélène Valance Perception Pistoletto’s Mirror Paintings
and Space Abigail Walker and early modern art Boston Anne Grasselli Roberta Minnucci
Susan Barahal and Caroline Culp
Stacey Pierson and Elizabeth Pugliano
Chih-En Chen
12 13
Friday 16 April 2021: morning Friday 16 April 2021: afternoon
ALL TIMINGS IN BST ALL TIMINGS IN BST
INTRO PAPER 1 PAPER 2 PAPER 3 PAPER 4 INTRO PAPER 1 PAPER 2 PAPER 3 PAPER 4
SESSION
SESSION
NUMBER
NUMBER
SESSION FROM 09.30 - 10.00 - 10.10 - 10.45 - 11.15 - 11.50 - 12.25 - 12.55 13.05 - SESSION 14.30 - 14.40 - 15.15 - 15.50 - 16.20 - 16.55 - 17.25 - 17.45 - 18.30 -
NAME 09.00 09.45 10.10 10.40 11.15 11.45 12.20 12.55 - 13.05 14.30 NAME 14.40 15.10 15.45 16.20 16.50 17.25 17.35 18.15 19.30
Challenging Orientalism: Developing Orientalism: The Orient Within: Spanish Passage to the Orient (1993): Orientalist Collections in A Moving Experience: The Lady and the Unicorn at Sea: Local Displacements and the Eternity on the Move An Ecosystemic Approach to
Keynote lecture with David J. Getsy (School of the Art Institute of Chicago) on ‘How to Teach Manet’s Olympia After Transgender
New questions of perception ‘Potential history’ and the and Moroccan perspectives Reassessing the role of the the Middle East: Taste as knowl- Exhibition infrastructures Loaning tapestry masterpieces Disruption of Social Borders: Fernando Domínguez Rubio Art and Sustainability
1
and reception exhibition of Victorian
glass-plate negatives
Claudia Hopkins ‘Orient’ as ‘avant-garde’ during
the rise of globalisation
edge and shifting narratives
Nadia Radwan 12 and the portability of art in the post-war era (1946–48)
Iñigo Salto Santamaría
Le Musée Précaire Albinet by
Thomas Hirschhorn
Seulkee Kang
Emily Christensen and Sean Robert Willcock Clarissa Ricci Nushelle de Silva Beatriz Martínez Sosa
Erica Payet
Smell and Stereotype in Living Made Easy: The fashionable Fragrant Femininity and Women Gender and Sensitivity to Perfumed Promises:
Exiled and Female: Visualising Hilde doesn’t exist: Exiled Strolling along the Green Line: Home and History: The Fiona Tan’s Provenance (2008): 18th- and 19th-Century 1830s flâneur’s accessory to Artists: Disrupting the scented Smells at the Salon Delettrez’s Amaryllis du Japon
15
identity in the work of and female at the Bauhaus Exploring narratives of exile, embodiment of memory and Inhabiting the world as a Visual Culture avoiding city stench and miasma stereotype Érika Wicky advertisements (1891–94)
Kris Belden-Adams Christina Bradstreet Hyoungee Kong
2
women artists and beyond identity and belonging within exiled longing in the work of ‘professional foreigner’
Sara Torres Vega a divided capital María Magdalena Cam- Vivian K. Sheng Ersy Contogouris and
Carmen Gaitán Salinas and Maria Photiou pos-Pons Érika Wicky
Mari Paz Balibrea Gwen A. Unger
Surrealism in 1960s and 1970s Surrealist Utopias and the Paris Goes to Cuba: Surrealism, Towards a Definition of a Surrealism, Occult Rituals and
Latin America Cuban Revolution Third World solidarity and Revolutionary Subject: Roberto Women Artist Networks in
Provincialising Pluralities of Experience: Provincialising Impressionism Whistler, the Chincha Islands An Arctic Impressionism:
16
Anne Foucault Black Power Matta’s ‘La Guerrilla Interior’ 1960–79 Latin America: Leonora
Impressionism Impressionisms as in the 19th Century War and the International Anna Boberg and the Lofoten Paulina Caro Troncoso Claire Howard Paulina Caro Troncoso Carrington’s visual and literary
5
constellations of mobility Allison Deutsch Battle for Guano landscape path to Mexico’s women’s
Opening Comments by Session Convenors
Closing comments by Session Convenor(s)
Samuel Raybone Emily C. Burns and Alexis Clark Isabelle Gapp liberation movement
Alice M. Rudy Price Pauline Holzman
The Big Data Archive: Zombie Realism: Ed Ruscha, Picture Pars Pro Toto: Periphery as Unseen Freeways: Glimpsing the Tracking Shots and Deadpan
Welcome from the Association for Art History
Opening Comments by Session Convenors
Ed Ruscha’s Streets of history and contingency motif and concept in the work of city’s unconscious in Ruscha’s Photography, or Presence and
Closing comments by Session Convenors
‘Queer’ ‘British’ ‘Art’? – Ecstatic Antibodies: Resisting Sunil Gupta’s Queer Family ‘Defined by Her Absence’: Discussion
17
Los Angeles Andrew Witt Ed Ruscha and Robert Smithson archive Absence in Ruscha’s Sunset
Fringe events
Theory and practice since the AIDS mythology Photography Yve Lomax and the queer
Ursula Klammer and Jon Leaver Boulevard, 1966
Studies’
6
1970 Theo Gordon Greg Salter dissolution of seeing
Break
Nathaniel Deines and Timm Kroner Mark Shiel
Break & Fringe Progrmme
Kimberly Lamm
Virtual Bookfair Open
Zanna Gilbert
Theo Gordon
The Plantation Complex Donald Locke: Plantation Studies Simryn Gill’s Becoming Volumetric Space and Donald Visuality and the Plantationocene:
Break
Giulia Smith Palm (2018) Locke: Artistic attempts to The panoramas of Regina Agu
Re-Writing the Canon:
New directions in art writing
Where Angels Fear to Tread:
Mazhar Şevket İpşiroğlu’s
A Fiction of Our Time?
Writing China’s photobooks
Retaining the Object in the
Absence of Vision: Translation
Allegorical Narcissists and
Analogical Mystics: Geeta 18 Emilia Terracciano and
Anna Arabindan-Kesson
Emilia Terracciano understand a context
Tiffany C Boyle
Allison K. Young
7
canonisation of Siyah Kalem Rachel Marsden and re-presentation in the Kapur writing women’s
Sophie Hatchwell and Ambra D’Antone writing of Robert Smithson work, 1968–93
Sam Rose and Kenneth Goldsmith Meghaa Ballakrishnen The Space Between Non-Arts ‘‘Pictures of Men, Birds, Beasts Renaissance Birth Trays and the Behind the Painted Gems: Materialising Trade, Conquest and
Benjamin Jenner and Fine Arts: Confronting and Flow’rs’: Susanna Perwich and Power of Women: Celebratory Three Medici women’s jewellery Dynasty in the Cabinets of Amalia
gender and the decorative the mysteries of LACMA’s gifts or moral reminders? inventories van Solms-Braunfels (1602–75),
19
Surrealism and Scotland Surrealism and its Heritage – Three Scottish Surrealists: Steven Campbell: Surrealist The Spookier School: (Anti-) arts, 1500–1800 17th-century needlework cabinet Serenella Sessini Claire Litt Princess of Orange
Edinburgh College of Art and Sulter, Douthwaite, Flannigan affinities Surrealism in Glasgow Isabella Rosner Lauryn Smith
Samantha Chang and
8
Patricia Allmer, Gráinne Rice the University of Edinburgh: Susannah Thompson Gráinne Rice (a contemporary artist’s
and Susannah Thompson A case study perspective) Lauryn Smith
Patricia Allmer Laurence Figgis
Moderator: Tara Hamling
What’s Love Got to Do with It? Close Encounters: Experiences of Affect and the Abject: Trash(y) Re-articulating Embodied Discussion
The Laws that Bind Us Case and Effect: Vasari’s Photographers Build Their [To view this image, refer to Museum Acquisitions Queer-feminist desires in self in the Leonor Fini archives desires in queer artistic practice Subjectivity/Maria Lassnig
20
alternative facts of Dürer’s Cameras: Berenice Abbott, the print version of this title.]: Committees and Their Role researching and writing Andrea Kollnitz Daniel Fountain and Carol Rama
9
Ashley Gallant and lawsuit in Venice Ansel Adams and the US Art history in the UK and the in Shaping Cultural and art histories Ileana Arnaoutou
Estelle Derclaye Grischka Petri patent record barriers of communication Financial Legacies
María del Carmen Oğulcan Ekiz Lorraine Lezama Lazard James Bell and Aleksandra
Barrios-Giordano Gajowy
Visual Art and the Contempt for the Cherub: After the End of Iconography: Interwar Art Magazines as Middle-Browing High Art:
Middlebrow The people’s angel ‘Bildungsbürgertum’ and Middlebrow Spaces Blockbuster exhibitions
PAPER 5 PAPER 6 PAPER 7 PAPER 8
11
Harriette Peel visual culture Emma West and expanding audience
SESSION
NUMBER
Michael Clegg and Hans C. Hönes Anna Lawrenson and
Rebecca Savage Chiara O’Reilly SESSION 14.40 - 15.15 - 15.50 - 16.20 - 16.55 - 17.25 - 17.45 - 18.30 -
NAME 15.10 15.45 16.20 16.50 17.25 17.35 18.15 19.30
Jewish Visual Culture in Modern ‘Russian/Exotic/Jewish’: Dora
Keynote lecture with David J. Getsy (School of
the Art Institute of Chicago) on ‘How to Teach
3
Manet’s Olympia After Transgender Studies’
Europe (c.1840–1940) Gordine (1895?–1991), sculpture
Closing comments by Session Convenor(s)
INTRO PAPER 1 PAPER 2 PAPER 3 PAPER 4
and identity in the UK 1928–1940
SESSION
NUMBER
Tom Stammers Jonathan Black
SESSION FROM 09.30 - 10.00 - 10.10 - 10.45 - 11.15 - 11.50 - 12.25 - 12.55 13.05 -
NAME 09.00 09.45 10.10 10.40 11.15 11.45 12.20 12.55 - 13.05 14.30
Pre-Modern Women as Artists, Transgressing Reflected Selves: Women and the Architectural Where Are Women Artists in Mapping Global Trajectories
Jewish Visual Culture in The Man in the Suit: Looking The Jewish Look: Unpicking the Samuel Hirszenberg’s An Invisible Avant-Garde: Patrons and Collectors Women’s self-portraits of Culture in Mamluk Cairo Colonial Mexico? Decolonial of Women Makers: Processes
Fringe events
Modern Europe (c.1840–1940) Jewish in Fin-de-Siècle Vienna’ contribution of Jewish fashion Entangled Worlds: Jewish collectors and patrons
4 pre-modern China Amina Karam alternatives to the understanding and findings
Welcome from the Association for Art History
3
Break
Jonathan Kaplan designers to London’s interwar A Polish-Jewish artist in in Bucharest, 1915–1930 Jamie Edwards, Elizabeth L’Estrange Mariana Zegianini of art making Tanja L. Jones,
Opening Comments by Session Convenors
Tom Stammers ascendance as a creative fin-de-siècle Łodź Alexandra Chiriac and Edward Wouk Elsaris Núnez-Méndez Doris Sung and
fashion city Mirjam Rajner All day session Tracy Chapman Hamilton
Bethan Bide
Break & Fringe Progrmme
Video Art and Africa Repetitive Rituals: Wangechi FUTURE-WORLD-EXV: At the Edges of Empire Cryptographic Video: CUSS
Virtual Bookfair Open
Pre-Modern Women as Artists, ‘Master’ was a Woman: The Women and the World of Botanical Women as Artists, Female Authorship and the Mutu and Kitso Lynn Lelliott Re-imagining gazes of feminine Ian Bourland Group’s Video Party 4 (2014)
Patrons and Collectors case of illuminators in Bruges
(c. 1455–c. 1540)
Early Modern Playing Cards
Kirsten Burke
Patrons and Naturalists
(1620–1760): An ecofeminist
Reception of Islamic Art in
Venetian Needlework of
10 Katarzyna Falęcka and Gabriella Nugent
All day session
Gabriella Nugent models in contemporary visual
culture through video art
Delinda Collier
4
Break
XXX
Jamie Edwards, Patricia Simons and post-colonial perspective the 16th Century Wilfred Ukpong
Elizabeth L’Estrange and Kimberly Glassman Robert Brennan
Edward Wouk
All day session PAPER 1 PAPER 2 PAPER 3 PAPER 4 PAPER 5
SESSION
NUMBER
Video Art and Africa The Revolution will be Live: Travelling Sprits: Music videos The Use of Digital Technologies Sites of Retrospective Reading:
Video and mediated citizenship and the globalisation of the in Video Art: Somewhere Video art and distant pasts SESSION 14.30 - 14.40 - 15.15 - 15.50 - 16.20 - 16.55 - 17.25 - 17.55 - 18.30 -
10 Katarzyna Falęcka and
Gabriella Nugent
in neo-colonial Africa
Nomusa Makhubu
Vodun archive
Niklas Wolf
between fiction and play
Soukaina Aboulaoula
Katarzyna Falęcka NAME
From Canvas to Stage:
14.40 15.10
The Rise and Fall of Regietheater,
15.45
Uncomfortable Allegiances:
16.20 16.50
Staging Neo-Classicism between
17.25
Shanawdithit: ‘confronting
17.55
Collaborative Collision:
18.05 19.30
Opening Comments by Session
Closing comments by Session
All day session The visual artist as opera or ‘Opera Through Other Eyes’ Maurice Denis and Vincent Interwar Paris and Berlin: Giorgio different eyes in different David Hockey, John Dexter
13 scenographer Diane V. Silverthorne d’Indy’s La Légende de Saint
Christophe
di Chirico’s designs for Ernst
Krenek’s Leben des Orest
ways’ (bell hooks)
Natalie Rewa
and Erik Satie’s Parade
R. Scott Blackshire
Hannah Chan-Hartley and Rachel Coombes John Gabriel
Convenors
Convenors
Keynote
Corrinne Chong
Break
Graphically Graphic Art: ‘Under the Empire of Feelings’: Dirty Picture: Erotic prints Pornographic Traversals: Erotic Touchy Subjects: (Photo)graphic The Lure of the West:
The making of modern print The Belgian porn ban, 1891 of Bengal in the late 19th and novelettes, ‘obscene’ images and representations of interwar Consumer culture, modernity
14 erotica, 1850-1950 Leon Janssens early 20th century
Arundhati Dasgupta
grassroots archiving in Mexico
Zeb Tortorici
British nudism
Tania Cleaves
and the making of print
erotica in post-Second World
Abbey Rees-Hales and War Austria
Camilla Smith Paul M. Horntrich
14 15
Saturday 17 April 2021
ALL TIMINGS IN BST
INTRO PAPER 1 PAPER 2 PAPER 3 PAPER 4 PAPER 5 PAPER 6
SESSION
NUMBER
SESSION FROM 10.00 - 10.30 - 10.40 - 11.15 - 11.45 - 12.20 - 12.55 - 13.30 - 14.30 - 15.05 - 15.35 - 16.15 - 17.15
NAME 09.00 10.15 10.40 11.10 11.45 12.15 12.50 13.25 14.30 15.00 15.35 15.45 17.15
Art Disputes: Conflict and Triumph of the Underdog: ‘A Sensitive Man… Who’s Afraid of Raphael? The Appropriation of the Photographic Self-Portraits Peter Fuller: The aesthetic
1
competition across the ages From Bernini’s clay modelli to At Fair Prices’: Marbriers Nicola Consoni at Frogmore Image: The battle over Caspar as Comments on the Paragone dimension vs the ‘mega-
the paragone of materials and funerary monuments in Stefano Cracolici David Friedrich’s Tetschen Debate visual tradition’
Edward Payne and Fiona Sit 19th-century Paris Altarpiece Zsuzsanna Szegedy-Maszák James A. Brown
Bernadette Petti Kaylee P. Alexander Sander Oosterom
Art into Pop (Redux) Punk into Art: Ruth Novaczek Transferable Skills: Oblique Strategies: Watford 1980s Leeds, the Dada spirit Electric Shock: Synth Pop, Discussion
2
and Ann Robinson The Portsmouth Sinfonia, College of Art and avant-pop and rock as a weapon Queerness and the Art
Gavin Butt Rachel Garfield art school, and experimental in the 1960s and 70s John Hyatt School Avant-Garde
Keynote lecture with Jill Burke (University of Edinburgh) on ‘Experiments in Renaissance Art History at the End of the World’
music Matthew Cornford Gavin Butt
John Beck
Art, Obscurity, and the Opening Discussion Consuming Artistic Withdrawal ‘The Art of Our Time is Pale’: Inspiration Archives and the Blur, Blackness and Die Brücke Anti-Oedipal Filiations and the
3
Politics of Rescue Amy Tobin and Flora Dunster Neil Clements Obscuring the art of the Politics of Authenticity Joseph Henry Obscure Ends of the
Weimar Republic Eleanor Roberts Avant-Garde
Amy Tobin and Mary-Ann Middlekoop Jenevive Nykolak
Flora Dunster
Climates of Colonialism Nineteenth-Century Climate Fire Water is Life: The sensual and Alberta Whittle: The Other Side Epidemic Landscapes: The Making and Sensing Climate
4
Adaptation and the Alan McFetridge affective politics of Rebecca of a Heatwave is a Hurricane Visual Culture of Nine- at Kew
Julia Lum and Architecture of Acclimatisation Belmore’s Fountain and Freeze Giulia Smith teenth-Century Medical Nicholas Robbins
Gabrielle Moser Kathleen Davidson Elizabeth Went Topography in Britain and India
Amanda Sciampacone
Exploring Diversity in Public Art Placed: Assessing the Cultural Value, Celebrity and Conveying Ethnic Identity and Why Have there been no great Identity Politics and Cultural Discussion
5
Sculpture significance of site-specificity Public Sculpture in the UK Diversity via Public Sculpture in Greek women sculptors? Hybridity in Zheng Bo’s Sing
Welcome from the Association for Art History
towards diversity in post-war David Wright the Global City Klairi Angelou for Her
Opening Comments by Session Convenors
Closing Comments by Session Convenors
Klairi Angelou public sculpture in London Menno Hubregtse Timothy Tin Ping Yeung
Lim Shujuan
Exploring the Plurality of The Plurality of Weavers’ Jacques Aved, a Portraitist, The Role of Artists as Agents ‘A Peculiar Accident’: The artist Shaping the Art Market in the Modernist Market Making:
Break & Fringe Events
Artists’ Practices: Artists as Practices in Renaissance Italy Diplomat and Dealer during and Dealers in Building the Art as insurance underwriter 1930s and 1940s: Giorgio de The Case of Henri ‘Le
6
Conference Ends
Virtual Bookfair
dealers and agents Carlo Scapecchi the Reign of Louis XV Collection of Count Saverio Avigail Moss Chirico and self-promotion Douanier’ Rousseau
Christine Godfroy-Gallardo Marchese (1757–1833) Caterina Caputo Kathryn Brown
Break
Adriana Turpin and Krystle Attard Trevisan
Marie Tavinor
From Keeper to Maker: British From Collector to Curator: Curating the Moving Image ‘Maker of Exhibitions’: The cura- Curating Life: The mediation The Hatton Gallery will be the Discussion
curatorial practices Robert Murdoch Smith and the in Britain at the Turn of the torial practice of Cordelia Oliver of social practice in the UK Scene of an Experiment
7 Laia Anguix,
shaping of Persian art
collections in England and
21st Century
Elisabetta Fabrizi
Susannah Thompson Kirsten Lloyd Melanie Stephenson
Elisabetta Fabrizi and Scotland, 1873–1900
Massimiliano Papini Friederike Voigt
Hybrid Marines Introduction by Bryan Biggs From Sea as Sight to Sea as Ai Weiwei’s Life Cycle: A hybrid A View from another Ship Sea Trading, in the Age Discussion
8 Bryan Biggs and
and Gabriel Gee Site: Glasgow art at the turn
of the century
marine story
Nicola Foster
Denise Clarke of Simulacra
Jean Wainwright
Gabriel Gee Charlotte Gould
Race and Representation in Racialised Bodies and Race and Self Representation Sculpting Whiteness on the Translation, Revolution and Afrique Noire, Afrique Blanche: Kréol Identities: Contemporary
the French Colonial Empire (Dis)Possessed Objects in by West Africans at the Court 18th-Century Dining Table Reproduction: Printed images Racialising the allegory of Africa art and the colonial legacy in
10 Susannah Blair and
Nouvelle France
Joseph Litts
of Louis XIV
Joaneath Spicer
Alicia Caticha by and after Agostino Brunias
in the French Atlantic World
during the Second Empire
(1852–70)
Réunion Island
Julia DeFabo
Stephanie O’Rourke (c. 1779–1833) Nancy Ba
Damiët Schneeweisz
The Visual Politics of Independent Print Media in Radical Roots? Mapping Self-made Revolt: How Subverting the Mainstream, Defter: An exploration of Discussion
Independent Print Media in Finland, 1907–1939 carnivalesque connections underground publications Impacting the Mainstream? affinities through printed words
11 the 20th Century Tutta Palin between early 20th-century
Witzblätter and Berlin Dada’s
operate social change through
new graphic strategies
Interview, Rags and Nova’s
Visual Singularities from the
and images
Ceren Özpınar
Louise Siddons and ‘Little Magazines’ Juliana F. Duque and 1960s and 1970s On
Victoria Bazin Lucy Byford Davide Ricchiuti Alice Morin
Walking on Images Navigating the Image: Landscapes, Cities and the ‘Tread another Tomb’: Ruskin at Calling all Robotised Aerial Views vs. Floor-Based Creativity and Fantasy:
Geometric decorative floors Viewer: Stepping on Stones Santa Croce Pedestrians! Carlos Cruz- Work: Containment and Walking on images in the world
12 Michael Tymkiw from an embodied perspective
Arthur Crucq
in Late Antiquity
Irene Gilodi
Jeremy Melius Diez’s painted walkways in
mid-1970s Caracas
Inaccessibility of 21st Century
Horizontal Images in the
of video games
Yi Huang
Michael Tymkiw Work of Sterling Ruby
Christian Mieves
INTRO PAPER 1 PAPER 2 PAPER 3 PAPER 4 PAPER 5 PAPER 6 PAPER 7 PAPER 8
SESSION
NUMBER
SESSION FROM 10.00 - 10.30 - 10.40 - 11.05 - 11.30 - 11.50 - 12.20 - 12.45 - 13.10 - 13.30 - 14.30 - 14.55 - 16.15 - 17.15
NAME 09.00 10.15 10.40 11.00 11.25 11.50 12.15 12.40 13.05 13.30 14.30 14.50 15.40 17.15
Mysticism and the Visual Arts Mirror Calligraphy: A path The Body of Christ in Early Potent Piety: A Marian ‘Fixing Our Eyes on Thee’: Sensing the Numinous: The Science of Light in the The Ghostly Other: A Study Discussion
of return to the Source Modern Passion Narratives: altarpiece (1577–78) at Sight, presence and mystical Ascension, descension and Spiritualist Works of Evelyn of the relationship between
Conference
9
As above
As above
As above
Keynote
Ingrid Falque and Esra Akın-Kıvanç Image, relic and experience the Innsbruck Court communion in El Greco’s transformation in the Roman De Morgan spiritualism, psychoanalysis
Break
Break
Ends
Elliott D. Wise Andrew Horn Stella Wisgrill St. Veronica’s Veil artistic imagination Emily Snow and Surrealism through
Katharine Davidson Bekker Erik Yingling reflections of mortality
Alexa Jade Frankelis
16 17
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