Circulaire 16

Dear Friends and Colleagues,

We hope that you had a terrifying Halloween and that your term is going swimmingly.

Our panel on German Art after 1945 in Context at the Southeastern College Art Conference (SECAC) was a great success, as was the panel Art in Three Crises: 30-70-Now organized by Ruth Erickson, and all the other presentations of our members.

Below you will find our usual listings.

Warm wishes,

Catherine Dossin & Victoria H.F. Scott


CALL FOR PAPERS 

Art History in Italian Studies 

Art History in Italian Studies/Italian Studies in Art History

Eugene, OR, April 11 – 14, 2013

Deadline: Nov 15, 2012

This panel explores the intersection of Art History and Italian Studies, their inherent interdisciplinarity, shared subjects and methodologies, and the logistics and structures of our institutions, professional associations, and disciplinary conferences that often separate us. Scholars from all disciplines are invited to submit and bridge these divisions.

Send proposals (ca. 300 words) to: duranadrianr@gmail.com Adrian R. Duran, University of Nebraska-Omaha. For conference information: http://center.uoregon.edu/conferences/AAIS/2013/

 
 

Transnational Flows  

Association of Art Historians Annual Conference 2013

University of Reading, April 11 – 13, 2013

Deadline: Nov 12, 2012

This panel will explore developments in European fine art education in the 20th century. It will seek first to examine national pedagogical models, identifying already established transnational strategies and flows. Further, it will work to build useful comparative models, identifying convergences and divergences, to reveal something of the often shifting and contested field of European fine art education.

Panel topics will range widely. Possible topics might include – but are not limited to the influence of the US and conceptual art in 1960s European art education; the so-called free academies in Paris in the early 1900s; the atelier of Matisse, Academie Colarossi, Academie Libre, etc. that attracted young artists from all Europe, e.g. Russia, Germany, the Nordic countries but also the USA; Bauhaus pedagogy beyond the UK; the legacy of the Moscow Vhuktemas; or, the little-known exchanges between Weimar and Calcutta, especially through Rabindranath Tagore in the early 1920s and the emergence of basic design training in India.

Taking a largely discursive format, this international roundtable invites participants to prepare ten-minute presentations on their fields of expertise. These short ‘position papers’ will provide extensive time for debate and discussion. With the precise objective of identifying common interests, the panel will also aim to establish directions for possible comparative studies and to move towards future research collaborations for its contributors. Participants are therefore also welcome to shortly comment in their proposals areas of interest that could be developed in such collaborations.

Marta Edling, Uppsala University, marta.edling@hist.uu.se Maria Görts, Dalarna University, mgo@du.se Hester Westley, Tate Research, hester.westley@tate.org.uk Beth Williamson, Tate Research, beth.williamson@tate.org.uk

 
 

Thinking and Rethinking Exhibition Histories

Association of Art Historians Annual Conference 2013

University of Reading, UK, April 11 – 13, 2013

Deadline: Nov 12, 2012

Exhibitions of contemporary art over the last 50 years are increasingly a focus for academic study. This session seeks to reflect on this development, addressing what it might mean to analyse contemporary art not in the context of when and where it is made, but of its public display. At a moment when a new field of exhibition studies seems to be emerging, and when art history is turning to exhibitions as legitimate research ‘outputs’, it is time to consider the historiographic question of the relationship between exhibition studies and neighbouring fields: art history, of course, but also sociology, philosophy and visual and cultural studies.

Attention needs to be paid to the distinctive nature of exhibitions as time-based and spatial entities involving artists, curators, designers and, not least, publics. This begs questions of definition, and prompts us to ask what kind of histories might be made out of, say, a performance at an opening or exhibitions produced solely for publication, television or the internet. Debating the implications of a history premised on ‘landmark’ exhibitions will be central to this session, as will exploring the use in exhibition studies of methods of historical enquiry that privilege the transient and ‘minor’ over the canonical. Moreover, roles for archaeology, genealogy, or theories of the event or ‘longue durée’ might be addressed.

We invite papers from art historians, curators and others interested in thinking through or rethinking existing historiographic models for the study of exhibitions from a variety of geopolitical perspectives.

 
 

Landscape and Economy

Association of Art Historians Annual Conference 2013

University of Reading, UK, April 11 – 13, 2013

Deadline: Nov 12, 2012

This panel seeks papers that examine the myriad ways that landscape art has creatively engaged the modern economy. How have artists used the frame of the landscape to visualise the complicated relationships of the capitalist market? How have landscapes given spatial or pictorial form to economic phenomena such as risk and insurance, speculation and investment, profit and insolvency? In what ways and under what circumstances have landscapists addressed the abstract processes of finance? How have landscape tropes – such as the ‘horizon’, ‘frontier’, or ‘prospect‘– structured economic thinking in the two-and-a-half centuries since the rise of capitalism?

Papers might also consider the ways that aesthetic categories such as the sublime inform modern economics; artistic explorations of the spatial conditions of ‘unevenness‘ and ‘uneven development‘ (from Trotsky to Neil Smith); and the role of religion and economics in landscape representation.

We are particularly interested in papers that closely entwine the visual and the economic, that move beyond Marxist approaches of the 1950s to 1970s, and that engage contemporary methodological approaches to economics (e.g. David Harvey on neoliberalism). Though we are privileging discussions of the ‘modern‘ and contemporary economy (c.1750 and after), papers from any culture and time period that deal with the theme of the landscape will be considered.

Please send proposals by 12 Nov 2012 to the session chairs, Dr. Kevin Chua (Texas Tech University, kevin.chua@ttu.edu) and Dr. Ross Barrett (University of North Carolina at Chapel Hill, rbarre@email.unc.edu)

 
 

Global Pop Research Symposium

Tate Modern/Royal College of Art
London, March 14, 2013

Deadline: Nov 30, 2012

This research symposium at Tate Modern is part of a two-day event exploring the many manifestations of ‘Global Pop’. Organised in collaboration with the Royal College of Art, London, it will offer a unique opportunity for scholars working in different fields and geographies to develop new interpretations of ‘Pop’ in advance of The World Goes Pop, a major exhibition opening at Tate Modern in summer 2015. By exploring contemporaneous engagements with Pop throughout the globe in the 1960s and 1970s, the exhibition will examine not only the phenomenon in Western Europe and the US but also survey Pop developments in Eastern Europe, Latin America, Asia, Africa and the Middle East. Of particular importance is the often critical nature of these global engagements with Pop. Reacting to the increasing dominance of the American post-war economy and media around the world, Pop art sometimes took the form of a destabilizing reversal of the normative messages associated with American culture and consumerism. This dialectic was effectively and memorably put to use by feminists, political groups and independence movements in order to simultaneously critique the hegemony of the West while drawing on its aesthetic mass appeal and graphic clarity.

To date, the history of Pop art has tended to affirm the hegemonic position of New York and London. In an attempt to challenge the simple linear trajectory of influence that has dominated most accounts, this symposium will explore Pop beyond the mainstream and open the definition of Pop to critical re-thinking.

We invite 20-minute presentations from academics, research students, curators, artists and other professionals in relevant fields – including art, design, architecture and social sciences– that focus on global engagements with Pop. We particularly welcome papers that propose ways to re-examine both the origins and socio-political underpinnings of Pop or question its existence and significance as a

global ‘movement.’ This includes interrogations of how Pop might be understood afresh and what the relation between Pop and ‘the popular’ could be, and what the relationship is between the commodity culture of advanced capitalism and other forms of mass media.

Please submit abstracts of up to 300 words together with a 100 word biography by Friday 30 November 2012 to Anna Murray (Anna.Murray@tate.org.uk), with CfP Global Pop Research Symposium in the subject line. http://arthist.net/archive/4141

In/Accessible

Boston University, March 1-2, 2013

Submission Deadline: 5pm, November 12, 2012

The 29th Annual Boston University Graduate Student Symposium on the History of Art & Architecture invites submissions exploring questions of accessibility or inaccessibility of works of art, objects, and the built environment.  While some works communicate directly to a broad audience or privilege an exclusive experience, others seem to mediate both poles of this dynamic.  In/Accessible seeks to examine those works that make accessibility part of their interpretive structure.

Possible subjects that investigate the theme of accessibility include, but are not limited to: public art and architecture; travel and pilgrimage; forms of mass production; and the interface between high and low art. Conversely, papers could explore issues of limited accessibility such as esoteric references; religious or ritual objects intended only for the initiated; restricted architectural spaces; secretive artistic alliances; private erotica; theories of domesticity; institutional exclusivity; and art that renders ephemerality permanent.

We welcome submissions from graduate students at all stages of their studies, working in any area or discipline.  Presentations will be 20 minutes and will be followed by a question and answer session.  The Symposium will be held March 1-2, 2013, with a keynote lecture (TBD) at the Boston University Art Gallery at the Stone Gallery on Friday evening and paper presentations on Saturday in the Riley Seminar Room of the Museum of Fine Arts, Boston.

Abstracts of no more than 300 words and a CV should be sent to bugraduatesymposiumhaa@gmail.com.  Deadline for submission is 5pm EST, Monday, November 12, 2012.  All abstracts will be peer-reviewed and successful applicant will be notified before January 1, 2013.

 
 

The Reflexive Photographer

Edited by Rosie Miller, Jonathan Carson and Theresa Wilkie
School of Art & Design, University of Salford, UK

Deadline: Dec 10, 2012

We invite international submissions to be included in this forthcoming book, to be published by MuseumsEtc (www.museumsetc.com) in 2013. Proposals are welcomed from writers, academics, photographers, curators, artists and other visual practitioners.

This book will bring together the varied ways in which reflexivity manifests itself within photography and the photograph.  In this instance we are taking a broad approach to the term (as evidenced in the suggestions below), where ‘reflexivity’ is used to describe: The methods and dialogues that practitioners use to interrogate their own work; and, the manner in which these devices enable the photographer to

engage in an exchange with the work of others and with the world around them.

We are seeking chapters that deal with a wide range of issues in relation to the principle of the reflexive photographer.

If you are interested in being considered as a contributor, please submit a proposal (using Microsoft Word) of between 300-500 words with a short biography and CV (which, combined, must not exceed two sides of paper).

The deadline for submissions is 10 December 2012. Please email your proposal to books@museumsetc.com. If you have any queries please email Rosie Miller at r.miller@salford.ac.uk.

 
 

The Collecting Impulse, Graduate Symposium

University of Illinois, Urbana-Champaign, March 8-10, 2013

Proposals due by Monday, December 17, 2012

Keynote Speaker: Bill Brown, Karla Scherer Distinguished Service Professor in American Culture at University of Chicago in the departments of English and Visual Arts, and Co-Editor of Critical Inquiry

 “Every passion borders on the chaotic, but the collector’s passion borders on the chaos of memories.”  – Walter Benjamin, “Unpacking My Library”

This symposium investigates a resurgence of interest in possession, accumulation and hoarding, in the wake of an international financial crisis that dispossessed millions of their homes, savings, and sense of security.  If we look at the contemporary art world, for example, revenues at auctions have reached unprecedented highs.  During a global recession, art fairs have closed with record-breaking attendance, and art world darlings like Damien Hirst have offered collectors incentives like the “Spot Challenge,” in which gallery-goers who have the means to visit the artist’s retrospective in each of Gagosian Gallery’s eleven global locations earn a signed spot print dedicated personally to the collector.  The collecting impulse, however, has not only exploded in the elite sphere of the contemporary art market.  Popular television shows like Hoarders, Storage Wars, and Antiques Roadshow evidence a growing interest in the culture of collecting.  Current scholarship also reflects this trend in the growing interdisciplinary field of material culture and the expansion of museums and museum studies.

While the phenomenon of collecting has long fascinated scholars, the topic has become increasingly visible in recent years and therefore warrants renewed attention.

We invite 20-minute graduate papers from all periods and disciplines in the humanities to be presented at this symposium.  Presenters will also have the opportunity workshop and discuss their own scholarship dealing with issues of collecting, as well as some of the methodological questions arising from this preoccupation at a more intimate roundtable and lunch with our keynote speaker, Bill Brown.

 Please send your abstracts of 250-300 words and a short biography to sahagradsymposium@gmail.com<mailto:sahagradsymposium@gmail.com> by Monday, December 17, 2012.  Please direct any other questions to Ellen Martin at emartin7@illinois.edu<mailto:emartin7@illinois.edu>.

 

 
 

Experience and Experimentation: Alternative Artistic Practices

University of Oregon, Eugene OR, USA, April 25 – 26, 2013

Deadline: Jan 2, 2013

The Art History Association of the University of Oregon is pleased to announce its 9th annual interdisciplinary student symposium, Experience and Experimentation: An Investigation of Alternative Artistic Practices on Thursday and Friday, April 25th and 26th 2013 at the Jordan Schnitzer Museum of Art (JSMA) in Eugene, Oregon.

This year’s symposium is inspired by and will be held in conjunction with West of Center, an exhibition that highlights the art of the 1960s and 70s counterculture, particularly of the western United States. It is the goal of this symposium to expand upon a number of the broad themes addressed in the exhibition, particularly unconventional art practices, art as lived experience, and the role of art within a social fabric. Papers are sought which develop upon these expansive themes, going beyond the particular chronological and geographic boundaries that frame the exhibition, engaging with art as the prime context for experimentation. Through an inclusive and diverse approach, the symposium aims to illustrate the presence and unique methods of countercultures throughout history and around the globe.

The Art History Association is honored to welcome Elissa Auther as this year’s keynote speaker. Professor Auther is the co-editor of West of Center: Art and the Counterculture Experiment in America, 1965-1977, a collection of essays that expounds upon the multitude of ways in which the subjective experience was reconsidered during the post-war period on the West Coast. Professor Auther is currently an Associate Professor of Contemporary Art at the University of Colorado, Colorado Springs as well as an Adjunct Curator at the Museum of Contemporary Art, Denver.

Her book, String, Felt, Thread: The Hierarchy of Art and Craft in American Art, considers the historical status of craft and the social ramifications of the shifting notions regarding its material, makers, and function.

Electronic submissions (Please send to both addresses): Kelsie Greer – kelsie.greer@gmail.com

Jordan Koel – jkoel@uoregon.edu

 
 

Historiographies of New Media (Chicago Art Journal)

Deadline: Dec 17, 2012

The Chicago Art Journal, the annual publication of the University of Chicago Department of Art History, is seeking submissions of original work by graduate students and faculty. The 2012-2013 edition asks how new media have affected not only the production of art, but also the production of knowledge about art. What is at stake in approaching art history through the concept of new media?

Particularly in the post WWII period, the term “new media” has been applied to a range of formats—from photography, to video, to the Internet—that have revolutionized the modes of transmission and reproduction of “old” media of art. The concept of new media seems to promise a mass media address, yet artists have often emphasized the limits of circulation—for instance, in closed-circuit television, or in zines that were produced via Xerox processes and yet distributed to small networks. Such a dialectical relation escapes media theory’s emphasis on mass distribution and gestures instead toward sites of friction between the imaginative and material aspects of new media, which the discipline of art history may be particularly well-equipped to explore.

Furthermore, the formation and performance of art history has been contingent upon pivotal introductions of reproductive media, from the double-slide lecture to the publication of photographs in books, from the use of facsimiles in the classroom to broadcasts of “art on television.” In turning with fresh eyes to the idea of new media, we consider art history’s rhetorics of description and display. How might we effectively attend to the aesthetic and pedagogical aspects of new media in the wake of communications theory and concepts such as interactivity?

Just as recent scholarship has addressed the nuances of “pre-modern” and modern notions of mediality—including forms of mechanical reproducibility and audiovisual displays emergent in the Middle Ages—so might we aim to reframe more contemporary art historical categories of “lateness” such as the post-medium condition.

We are especially interested in papers that diverge from the well-known chronologies of Euro-American technological developments.

Papers must follow The Chicago Manual of Style and should not exceed 5000 words. Each submission should include an abstract of approximately 500 words. Both Word documents and PDFs are acceptable.

Please send submissions to the graduate student editor Solveig Nelson at UChicagoArtJournal@gmail.com by December 17, 2012, 5 p.m.

 
 

 War in the Visual Arts

Cork, Ireland, September 13 – 14, 2013

Deadline: Feb 14, 2013

An interdisciplinary conference will be hosted at University College Cork, Ireland to bring together multiple perspectives on representations of war in visual culture. It is intended that the conference will lead to the formation of a multi-disciplinary, international scholarly community with its own calendar of events and

digital presence.

Speakers will include: Dr Laura Brandon, Canadian War Museum; Dr Sabine Kriebel, University College Cork; Dr Éimear O’Connor, Trinity College Dublin; and Dr David Woods, University College Cork

Topics may include but are not exclusively restricted to the following: Art history, political and military history; social and cultural history; religious history; discourse analysis; legacy, memory; propaganda, the perspectives of colonial powers and the colonised in the visual art; the perspectives of war artists, both as participants in warfare and as official war artists; war trauma; Irish and international perspectives on Northern Ireland.

The visual arts for the purpose of this conference will include the fine arts, cinema, advertising, graphic design and photography (to include photojournalism) and documentary.

We welcome all suggestions for the conference as well as offers to chair sections and round-table discussions.

Abstracts should be no longer than 500 words, including references. It will greatly assist the conference committee if proposals are as concise as possible (e.g. fit on one A4 page).

Please address all initial enquiries to: Ann Murray, Department of History of Art, University College Cork annmrry@gmail.com

 
 

Art Writers in Britain (London 2013)

Workshop Series: Call for Papers

Deadline: Dec 31, 2012

Tate plans to hold a series of workshops in 2013 about art writers based in Britain from 1900 to the present day.

The series aims to stimulate new research – particularly archive-based research – about the work and influence of individual art writers.

Each workshop will focus on individual writers, though the series as a whole will provide a forum for investigating the history, reception and impact of art writing in Britain and elsewhere. The workshops will ask, for example, how have different authors approached the task of responding in writing to art? What impact or influence did they have?

How can the relationships between different forms of art writing be characterised, and how can a history of art writing be conceptualised?

How has the emergence of different forms of dissemination over the twentieth century – from illustrated art magazines to websites and blogs – affected the nature of art writing and the social function of the art writer? These are broad questions that can be addressed in numerous ways, and we welcome the participation of specialists and postgraduate students from a range of disciplines and subject areas.

Tate’s Archive holds the papers of a number of important art critics, historians, theorists and commentators, including Roger Fry, Robert Melville, Adrian Stokes, J.P. Hodin, Kenneth Clark, John Rothenstein, David Sylvester, Barbara Reise, John Russell and Charles Harrison.

Presentations on these figures are particularly welcome, although the series is by no means limited to writers represented in Tate’s Archive.

 If you would like to lead a workshop or make a short presentation on a particular art writer or related theme, please send an email with details of your proposal (approximately 250 words) and a short CV to artwriters@tate.org.uk as soon as possible and no later than 31 December 2012.


CONFERENCES 

Esthetique et deconstruction. Parages de l’art et de la philosophie

Université Paris I – Panthéon Sorbonne, Centre Saint Charles

December 6 – 07, 2012

Ce colloque vise à explorer les articulations, les croisements et les interférences entre, d’une part, des questions liées à la théorie et la pratique artistiques et, d’autre part, les perspectives, les enjeux et les modes opératoires de la déconstruction. Dans quelle mesure ces derniers peuvent rendre compte des mécanismes internes du processus créatif, de ses indéterminations et de ses contradictions ? Et, inversement, comment peut-on envisager la déconstruction comme modalité esthétique, tout en problématisant le rapport du discours théorique à l’expérience sensible, à l’histoire et à la société ? En mettant l’accent sur la diversité des approches et des ramifications de la critique déconstructive (une diversité qui n’a pas manqué de surprendre Jacques Derrida lui-même), l’objectif de ce colloque est, au-delà des idées reçues, de privilégier les nuances critiques, les points de passage et les régions de tension qui se profilent dans les parages de l’art et de la philosophie.

Dans le cadre du colloque sera présentée la vidéo de Bruno Pelassy Sans titre, Sang titre, Cent titres (1995), Courtesy galerie Air de Paris.

 
 

Ausstellungswesen und Sammlungspolitik nach dem 2. Weltkrieg

Museum Ludwig, Köln

09. – 10.11.2012

1946 schenkte der Jurist Josef Haubrich der Stadt Köln eine einzigartige Sammlung der klassischen Moderne und legte damit den Grundstein für eine neue moderne Abteilung im Wallraf-Richartz-Museum. Die Sammlung wurde jüngst einer detaillierten Untersuchung unterzogen und im Museum Ludwig, in dem sie seit 1986 beheimatet ist, neu präsentiert.

In diesem Symposium möchten wir Haubrich und seine wegweisende Schenkung in einen größeren Zusammenhang stellen.

Im Mittelpunkt steht die Frage, wie deutsche Museumssammlungen in den Jahren 1945-55 aufgebaut wurden. Was waren die spezifischen Motive, treibenden Kräfte und institutionellen Rahmenbedingungen des deutschlandweiten musealen „Wiederaufbaus“, der laut Aussage des früheren Generaldirektors der Kölner Museen, Hugo Borger, „einfach an[fing], ohne viele Worte“? Wie stand es um Personal- und Raumsituation, welche Kriterien bestimmten die Ankaufspolitik? Und in welchem Maße wurde parallel zu einer Rehabilitierung der klassischen Moderne zeitgenössische Kunst gesammelt? Auch in welchem Umfang die Besatzungsmächte kulturpolitisch Einfluss nahmen, soll diskutiert werden.

Abgerundet wird das Symposium durch Beiträge zum Umfeld der Museen – zu Großausstellungen, kunsttheoretischen Fragestellungen und der Rezeption der Moderne. Die Veranstaltung möchte eine kritische Plattform zum Austausch bieten und einen ersten, repräsentativen Querschnitt von musealer Sammlungstätigkeit der unmittelbaren Nachkriegszeit erarbeiten.

Weitere Informationen unter www.museum-ludwig.de

 
 

Feminist Literature and Film Gegen den Glauben/Against Belief 

Glaubenssysteme/Belief-Systems Annual Conference for the Austrian Studies Association
University of Waterloo, Waterloo, Ontario, Canada

May 2-5, 2013

This panel will investigate how gendered or feminist perspectives shape, contradict, explore, or circumnavigate various Glaubenssysteme. Against can be read literally or figuratively: It can mean opposed to certain beliefs, but also mean something that comes in contact with or is adjacent vis-à-vis another thing. Some questions to consider would be: How have other forms of protest given women a voice? How do notions of gender inform reactions to, for, or against Glaubenssysteme? The central focus of inquiry will be how feminists and gender scholars have engaged with a diverse system of Glaubenssysteme.

Max 300 word abstract and 1 paragraph bio sent electronically to both organizers (below). Abstracts due Dec. 15, 2012. Accepted panelists informed by Dec. 22.

Papers accepted in German or in English. Presenters must be members of Austrian Studies Association.

Panel Organizers: Beret Norman Associate Professor of German Boise State University, Boise ID 83725 208-426-1072 beretnorman@boisestate.edu Nicole McInteer PhD Candidate in German Literature and Culture The Pennsylvania State University nlm191@psu.edu

 
 

Szenenbilder & –bildner in Babelsberg
Filmmuseum Potsdam, Kinosaal
16.11.2012

Spielräume. Szenenbilder und –bildner in der Filmstadt Babelsberg Die Filmszenographie – Räume und Architekturen im bewegten Bild – ist nicht nur einer der wesentlichen Akteure im kinematographischen

Bildgeschehen, sondern auch eines der filmischen Elemente, die sich am intensivsten im visuellen Gedächtnis des Publikums festsetzen. In letzter Zeit ist die szenographische Komponente des Films verstärkt in den Blick sowohl der filmwissenschaftlichen wie auch der kunsthistorischen Forschung genommen worden. Das Forschungsprojekt Spielräume. Szenenbilder und –bildner in der Filmstadt Babelsberg,

eine von der VolkswagenStiftung geförderte Kooperation zwischen dem Institut für Kunst- und Bildgeschichte der Humboldt-Universität zu Berlin und dem Filmmuseum Potsdam, widmet sich am Beispiel der ostdeutschen Filmproduktion der DEFA dem komplexen Wechselspiel zwischen den Bildwelten graphisch autonomer Entwürfe, produktionstechnisch eingebundener Zeichnungen und Modelle und den vom bewegten Blick der Kamera erfassten Bildräumen, wie sie im Film umgesetzt wurden. Das Projekt kann hierfür auf den reichen Materialfundus des Filmmuseums zugreifen, der zugleich von herausragender Bedeutung für die Historiographie des gesamtdeutschen Nachkriegsfilms ist. Im Rahmen eines Workshops stellt das Projekt mit Forschungsbeiträgen zu vier sehr unterschiedlichen Jahrzehnten der DEFA-Spielfilmproduktion Ansatz und Ergebnisse seiner Arbeit zur Diskussion. Mit diesem Panorama zur Babelsberger Filmszenographie will das Projekt exemplarisch auch übergeordnete Fragen an das

kinematographische Szenenbild stellen und einen Beitrag zur Neubestimmung des Verhältnisses von Kunst- und Filmgeschichte leisten.

Weitere Informationen finden Sie unter http://filmszenographie.de oder unter http://filmmuseum-potsdam.de.

Bei Fragen wenden Sie sich bitte an Corinna A. Pohl (corinnaapohl@culture.hu-berlin.de).

 
 

Die Ringvorlesung des Graduiertenkollegs „Materialität und Produktion“
Düsseldorf, 07.11.2012 – 16.01.2013

(GRK 1678) an der Philosophischen Fakultät der Heinrich-Heine-Universität Düsseldorf ist in diesem Semester dem Thema „Produktion“ gewidmet. Renommierte Wissenschaftler aus Deutschland und

Frankreich behandeln in ihren Vorträgen Fragen der literarischen und künstlerischen Produktion im 20. Jahrhundert und in der Gegenwart. Zudem wird es um die Produktion von Geschichte durch Bilder und um die Produktion von physischen und psychischen Deformationen durch die sozialen Medien gehen.

 
 

Transcultural Constructivism: International Contexts of Swiss Konkrete Kunst

University of Zurich, December 3 – 04, 2012

Camille Graeser Lectures 2012

International Conference

University of Zurich, Karl Schmid-Strasse 4, Room KO2-F-152

(access also through the main hall of the Rämistrasse 71)

 
 

Die Ausstellungskopie. Mediales Konstrukt, materielle Rekonstruktion, historische Dekonstruktion?

Hochschule für Bildende Künste, Braunschweig

5., 6. und 7. Dezember 2012

Sie begegnen uns in Museen, Kunsthallen und Kunstvereinen: Ausstellungskopien. Die so genannte Medienkunst kommt nicht ohne reproduzierbare Datenträger aus. Mit der Möglichkeit, ‘verlustfreie’ Kopien in beliebiger Auflagenhöhe für Ausstellungen, zum Verkauf oder zu Forschungszwecken erstellen zu können, gehen Fragen nach dem Verhältnis sowie der Definition von Original und Reproduktion einher. Was geschieht nach Ablauf einer Ausstellung mit den verwendeten DVDs? Werden sie archiviert oder entsorgt? Inwieweit werden Eigentums- und Autorenrechte tangiert? Vor einem derart medienreflexiven Hintergrund sollen nicht nur Kunstwerke, die unter den Bedingungen der Digitalisierung entstanden sind, sondern auch Ausstellungskopien, die in materieller wie in handwerklicher Hinsicht aufwendig gefertigt wurden, um materiell verloren gegangene oder nicht ausstellbare Kunstwerke zu ersetzen, untersucht werden. Denn auch sie sind Ergebnis eines komplexen medialen Transformationsprozesses. So wurden museal präsentierte Anschauungsobjekte wie Vladimir Tatlins Eck-Konter-Relief oder László Moholy-Nagys Licht-Raum-Modulator, die nachhaltig das Bild der ‘klassischen Moderne’ geprägt haben, im Abstand von Jahrzehnten auf der Grundlage von historischen Fotografien neu hergestellt. Auch Arbeiten der 1960er und 1970er Jahre – einst konzipiert, um Zustände der Veränderung zu durchlaufen und mit Ablauf einer Ausstellung materiell zu verschwinden – werden inzwischen von Museen, Ausstellungshäusern und Galerien in Form von Ausstellungskopien rekonstruiert. Ist dies eine dienliche Form, historische Ausstellungssituationen nachvollziehbar zu machen? Oder verstellt die Ausstellungskopie gar den intellektuellen und imaginativen Zugang zu einer künstlerischen und kuratorischen Praxis der 60er Jahre, die, wie Lucy Lippard vermutete, in einem Vorgang namens Dematerialization of the Art Object ein alternatives Produktionsmodell zu initiieren suchte? Welchen Status haben Ausstellungskopien? Handelt es sich um ästhetische Phänomene oder um historische Dokumente? Um Kunstwerke? Um Rekonstruktionen? Oder gar um Fotografien, die in die Dreidimensionalität überführt wurden? Und welchen Zeitbegriff verkörpern sie? Sind sie Eingeständnis an die Bedürfnisse der Gegenwart? Oder Signale aus der Vergangenheit? Fragen wie diesen soll im Rahmen der Tagung nachgegangen werden.

http://www.kunsthistoriker.org/veranstaltungskalender.html?id=2596&m=12&j=2012&utm_source=dlvr.it&utm_medium=twitter


ARTICLES 

“Deutsch-französische Freundschaft 20 Jahre Centre Marc Bloch in Berlin”

Das 1992 vom französischen Staat in Berlin gegründete Centre Marc Bloch forscht zu den gesellschaftlichen Folgen der friedlichen Revolutionen von 1989. Jetzt sucht es neue Perspektiven, kürzlich wurde ein Projekt zu Europa in der Krise gestartet.

http://www.tagesspiegel.de/wissen/deutsch-franzoesische-freundschaft-20-jahre-centre-marc-bloch-in-berlin/7353722.html

 
 

Alex Kitnick “Another Time”

Art Journal 71, 2 (Summer 2012): 32-43.

A discussion of the collages and other work of Scottish-Italian artist Eduardo Paolozzi (1924-2005).

http://artjournal.collegeart.org/?p=3093

 
 

Jacopo Galimberti “The N Group and the Operaisti: Art and Class Struggle in the Italian Economic Boom”

The Grey Room

http://www.mitpressjournals.org/doi/pdf/10.1162/GREY_a_0008


EXHIBITIONS 

Prix de thèse du CIERA 2013

Délai de candidature : 31 janvier 2013

Le CIERA décerne un prix de thèse destiné à distinguer un travail doctoral parmi les recherches universitaires en lien avec le monde germanique. Sont éligibles au prix de thèse du CIERA les thèses de doctorat rédigées en français et issues de toutes les disciplines des sciences humaines et sociales.

Le prix prend la forme d’une publication de la thèse primée dans la collection du CIERA, Dialogiques, aux Éditions de la Maison des sciences de l’homme.

Le CIERA prend en charge les frais de composition, d’édition et de promotion de l’ouvrage. Il assure un suivi auprès de l’auteur pour la transformation du travail de doctorat en livre destiné à être publié et pour toutes les étapes de la publication.

Le prix de thèse du CIERA 2013 est ouvert aux thèses de doctorat soutenues entre le 1er janvier 2011 et le 31 décembre 2012.

http://www.ciera.fr/ciera/spip.php?article2089

 
 

Wolfgang-Ratjen-Preis 2013

Application deadline: March 1, 2013

Internationaler Nachwuchsförderpreis des Zentralinstituts für Kunstgeschichte in München für herausragende Forschungsarbeiten auf dem Gebiet der graphischen Künste, gestiftet vom Verein der Freunde des Zentralinstituts für Kunstgeschichte e.V. CONIVNCTA FLORESCIT

Ziel der Preisvergabe ist, die wissenschaftlichen Auseinandersetzung mit dem genannten Fachgebiet zu fördern. Der Name des Preises erinnert an Dr. Wolfgang Ratjen (1943-1997) und würdigt dessen Verdienste als Mitgründer des Vereins Conivncta Florescit und als bedeutender Sammler von Handzeichnungen alter und neuer Meister.

Ausgezeichnet wird eine Forschungsarbeit zur Handzeichnung und/oder Druckgraphik (Dissertation, Magisterarbeit, größerer Aufsatz). Der Preis wird an eine/einen Graduierte/n vergeben und besteht in einem dreimonatigen Forschungsstipendium am Zentralinstitut für Kunstgeschichte. Das Stipendium ist mit insgesamt EUR 5.000,- dotiert. Bei ausländischen Preisträgern kann gegebenenfalls zusätzlich ein

Reisekostenzuschuss gewährt werden. Über die Vergabe entscheidet eine unabhängige Fachkommission. Der Antritt des Stipendiums kann nach Absprache individuell gewählt werden, sollte jedoch innerhalb eines Jahres nach der Preisvergabe erfolgen.

Bewerbungen mit den üblichen Unterlagen (Lebenslauf, Zeugnisse, Publikationsverzeichnis) und einem Exemplar der Forschungsarbeit werden bis zum 1. März 2013 erbeten an den

Direktor des Zentralinstituts für Kunstgeschichte, Katharina-von-Bora-Str. 10, 80333 München


MISCELLANEOUS 

Orbituary: Gae Aulenti

http://www.giornalettismo.com/archives/575041/gae-aulenti-e-morta/

 

There is a threat to end art history at the University of Sardinia.

Please sign this petition against it. http://goo.gl/3kQ4t

 

Secure the EU research budget – for a future-oriented Europe!

Priority for the research budget is crucial for achieving economic prosperity and solutions for global challenges.Read thetext of the petition and voice your concerns on the EU budget to the heads of states or governments.

http://www.no-cuts-on-research.eu/