3rd January 2025
J.M.W. Turner continues to exert a singular gravitational pull on artmaking and art history. On the 250th anniversary of his birth, this panel reconsiders the many afterlives of Turner’s work, seeking to understand anew the cultural forms that have developed... Read More...13th December 2024
Despite the long-standing cultural and historical links between Britain and Poland, there is presently but a limited notion – in art histories written in Britain – of the steady cultural inflow of artists (and artists’ models) of Polish heritage. Examples... Read More...12th December 2024
In his Dictionnaire universel du XIXe siècle, Pierre Larousse wrote that the model must "contribute to the perfection of the work". Yet despite the model’s implied significance, the terms of their contribution to art, and the toll it exacted on... Read More...12th December 2024
For this session we borrow the words of thinker, writer, and activist Marina Vishmidt (1976-2024) from 2017 and ask: “What would it mean to move from the practices and theories of institutional critique in the arts and expand these ideas... Read More...10th December 2024
How might we better understand scenography as an effective analytical category for studying the history of architecture and urban design? Referring to framed or directed views and perspectives across space, scenography raises questions of spectatorship and public ceremonial. As a... Read More...10th December 2024
The early modern workshop has been the subject of sustained art historical enquiry, from research on contracts, apprenticeships, concepts of originality and seriality, to studies of taste, commerce and materiality. Yet such discussions have tended to focus on individual media,... Read More...10th December 2024
In her book “Letters to Gwen John” (2022) painter Celia Paul addressed John who died in 1939 in thinking about parallels and differences in their lives and artistic practices in the form of letters: “Dearest Gwen, I know this letter to... Read More...10th December 2024
Who owns antiquities? Cultural, legal, economic, and political dimensions of this question continue to inform debates on the restitution and repatriation of antiquities, with immense repercussions for the fields of art history, archaeology and museology. This session invites papers on... Read More...10th December 2024
The “animal turn” has gained traction in the humanities and social sciences, bringing animals to the forefront of academic discourses. Visual culture can offer new insights into the animal turn, opening up new ways of reading animals in art, and... Read More...10th December 2024
As a product of modernity, the figure of the “misunderstood artist” arguably belongs to the past. The utopian impulse behind its appearance, namely the longing for an unattainable, universal subject of aesthetic address, was dismantled by poststructuralist thought. The irresponsive... Read More...10th December 2024
The earliest art historians were also artists, or perhaps rather artists who were also art historians. The relationship between theory, historiography, and practice is often led and taught from the historian’s perspective, rather than artists’. This panel considers the multivalent... Read More...10th December 2024
This panel invites critical engagement with the scholarship and practice of T.K. Sabapathy, a foundational scholar of Southeast Asia’s modern and contemporary art. Sabapathy is recognised for his critical edge and unwavering insistence on the value of “regional consciousness” and... Read More...10th December 2024
Emerging from 19th-century personal postcards and photo albums, and later employed in advertising (Chéroux 2015), collage and photo-collage were embraced by the early 20th-century Avant-garde artists as a revolutionary language, challenging established codes and conventions in art. The two techniques... Read More...10th December 2024
This panel will respond to, critique, and put to work a range of critical concepts developed by feminist art historian and cultural analyst Griselda Pollock; and we are honoured that she will be the respondent to the panel. The panel... Read More...10th December 2024
Queer Spaces in Art and Architecture If orientation is a matter of how we reside in space, then sexual orientation might also be a matter of residence, of how we inhabit spaces, and who or what we inhabit spaces with.... Read More...10th December 2024
In this session, members of the Graduate Network and Professionals Network of the Pre-Raphaelite Society come together to share research on artists of the Pre-Raphaelite Brotherhood, their associates and successors, and the networks that they formed. The global reach of... Read More...10th December 2024
Migration, understood as the movement from one location to another with the intent to settle temporarily or permanently, is fundamental to history and life on this planet. While postcolonial, Marxist and feminist scholarships have diversified discussions on migration, including in... Read More...10th December 2024
In an era of rising ethno-nationalism and cultural isolationism, the study of modernism in the visual arts is at a crossroads. As the universalist ideals and futurist social utopias of the early twentieth century appear increasingly suspect across the political... Read More...10th December 2024
The relationship of images and ethics is often mediated, intensified or otherwise altered by words. In a photographic context, Clive Scott (1999) has problematized the relationship between images and language. Susan Sontag (2004, p.80) argued that the photograph’s inability to... Read More...10th December 2024
In 1955 Diego Rivera’s Gloriosa Victoria was exhibited for the first time at an exhibition of Mexican art in Warsaw. It was his response to the 1954 Guatemalan coup d’état backed by US military and economic interests. That same year,... Read More...Copyright 2025. All Rights Reserved