13th December 2023
The word “zomia,” common across language groups in areas of Myanmar, Bangladesh, and elsewhere in Southeast Asia, means “remote peoples” or “hill people.” The political and social dimensions of zomia were explored by anthropologist James C. Scott who describes the... Read More...13th December 2023
This session aims to explore and reassess the multifaceted connections between the natural world and perceptions of gender during the pre-modern period and their implications for the understanding of art. During the European Renaissance, gender played a crucial role in... Read More...13th December 2023
For many groups engaged in the anti-colonial and anti-imperial campaigns of the twentieth century, printing was the medium of choice for visualising and enacting political struggles. Across the Global South, printing presses and workshops were often sites of grassroots activism,... Read More...13th December 2023
Donna Haraway writes that “the open future rests on a new past.” This panel investigates which new pasts (very broadly defined as ancient up to the nineteenth century,) our future rests on and their implications. Far from being confined to... Read More...13th December 2023
In recent years digital humanities has been transformed by technology capable of searching, recognising, reading and even creating images. This has prompted numerous questions about the possibilities of digital technology for engaging with art, and for telling art’s histories. But... Read More...13th December 2023
The growing effort to expand the representation of women artists in academic research and museum displays can be traced back to the development of feminist art history in the 1970s. While significant progress has been achieved in highlighting women painters,... Read More...13th December 2023
The study of medieval art and visual culture has recently seen a flourishing of ecocritical and environmental approaches that invite us to explore new ways of thinking about objects, buildings and landscapes. Drawing on the material, spatial, and post-human turns... Read More...13th December 2023
This session interrogates the contributions of art historians in museums and academia to the practice of public art history. This field is not formally defined, but is generally understood as art-historical content produced for general audiences and/or applied to real-world... Read More...13th December 2023
In November 2022, the installation Unsupervised by the artist Refik Anadol was exhibited in the lobby of MoMA, New York. Aesthetically, it conveyed a dynamic display of abstract forms interpreting, via machine learning, MoMA’s archive of modern art. Conceptually, however,... Read More...13th December 2023
In postwar and contemporary art, artists’ engagements with architecture are often interpreted in terms of institutional critique or societal commitment. Artists comment on architecture’s imposition of power or on its biopolitics, or they gauge the capacity of architectural design to... Read More...13th December 2023
An illicit photograph of IRA prisoners at Long Kesh in 1975 became a symbol of the Irish republican cause when a cropped version isolating hunger striker Bobby Sands’ face appeared frequently in media sources and inspired protest materials and honorific... Read More...13th December 2023
From the clothes people wore, to the objects they touched, heard, saw and smelled, material culture’s relationship to the body shaped lived experience of the Early Modern world. This synergy between body and its material landscape was consciously employed in... Read More...13th December 2023
How does one deal with the reception of a - primarily - philosophical notion in the visual arts? The question of the reception of the Longinian sublime has already been addressed in recent years by such scholars as Caroline van... Read More...13th December 2023
Britain’s Celtic ‘Others’ have often sought to compare their status to that of its chief Imperial possession: India. In The Country and the City (1973), cultural critic Raymond Williams argued that India’s colonial literature shared equivalences within the “home islands”:... Read More...12th December 2023
This panel addresses the structural racism, classism, and sexism of the art complex and the university, which are premiere sites for the development of neoliberalism but also, arguably, primary structures allowing for obscuring its mechanisms through cultural forms. Generally speaking professors and... Read More...12th December 2023
A line drawn quickly does not usually look the same as a line drawn slowly. It can take five minutes to cut one centimetre of contour in semi-precious hardstones for an inlay decoration. Cycles of hot to cold, moist to... Read More...12th December 2023
Between the 1880s-1970s, women started accessing decision-making roles in museums. This panel proposes a transnational exploration of both the contributions and the challenges of pioneering female curators regarding exhibition design, collection-making, and museum practice. As scholarship (Diaz-Andreu, 2005; Hill, 2016)... Read More...12th December 2023
Making art demands energy. How do art historians study energy consumption? Taking the form of foodstuff, firewood, coal, oil, wind, sea wave, or direct sunlight, the energy that fuels the production of artworks and cultural artefacts falls into the focus... Read More...15th December 2022
Early modern artistic literature is a crucial source for the study of art between the fifteenth and eighteenth centuries. Treatise writers such as Vasari, Pacheco, Baldinucci, and Palomino were crucial to the construction and future interpretation of art and their... Read More...15th December 2022
Experiences of addiction span human history and extend across all cultures. Yet it was not until 1877 that Eduard Levinstein published the first Western medical definition of addiction. Since then, our understanding of addiction has continued to evolve. From the... Read More...Copyright 2026. All Rights Reserved