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2024 Programme At A Glance

Wednesday 3rd April

All Day

09.00-17.30         Registration

09.00-17.30         BookFair

Morning

10.30-12.30

Sessions

  • Beyond the AAH: Groups, Organisations, and Collectives since the 1970s (pt 1)
  • Curating ‘Women Artists’ (pt 1)
  • ‘Queer Photography’ Now (pt 1)
  • Shifting Grounds:  Landscape and Cultural Practice in Latin America (pt 1)
  • The Past, Present and Future of Medieval Art in the British Isles (pt 1)
  • Art in the street: public performances across time and place
  • Day Jobs, Second Careers, and Side Hustles: Considering Black Artists’ Creative Self-Support
  • Energy Consumption in Art History: State of the Interdisciplinary Field
  • New Ways of Knowing in Feminist Art Histories
  • Subjective Approaches to Sense-Making in Art and Visual Culture

Afternoon

13.30-15.30

Sessions

  • Beyond the AAH: Groups, Organisations, and Collectives since the 1970s (pt 2)
  • Curating ‘Women Artists’ (pt 2)
  • ‘Queer Photography’ Now (pt 2)
  • Shifting Grounds:  Landscape and Cultural Practice in Latin America (pt 2)
  • The Past, Present and Future of Medieval Art in the British Isles (pt 2)
  • Anthropocene Mobilities
  • Exploring gender-based violence in feminist art
  • Poised in performance: the visual culture of dance through time and its connection with early dance practice
  • Reproduction! Networks of Distribution in Archives and Collections of Publishing
  • Writing Joyishly

16.00-17.30

Tours and Workshops

  • Visit to Holburne Museum, Bath
  • Walking tour: Decolonising Bristol, back and forth and the routes of racism
  • Workshop:  Transforming Assessment in Art History

17.45-19.15

Welcome and Keynote speeches:

Re-thinking Black Art: Curatorial Models

– Paul Goodwin, University of the Arts London

19.30-20.30

Drinks Reception:  The Orangery, Goldney House, University of Bristol


Thursday 4th April

All Day

09.00-17.30         Registration

09.00-17.30         BookFair

Morning

10.30-12.30

Sessions

  • An Era of Walls: Art at the Boundaries of the New Enclosures (pt 1)
  • Art, History, Exhibitions: Re-thinking Relationships (pt 1)
  • Keeping up with Fast-Changing Times: Creative Approaches to the Art History Classroom (pt 1)
  • Uses and Misuses of Premodernity: the afterlives of Ancient, Medieval and Early Modern Art (pt 1)
  • What can feminism do for Digital Humanities, what can Digital Humanities do for feminism? (pt 1)
  • ‘A Day With(out) Art History’: AIDS and Art History
  • Contemporary Art and Rural Places
  • Nature and Gender in Pre-Modern Art
  • Radical Imprints: Visual Tactics of Anti-colonial Struggle
  • Women’s Work: re-examining the material practice of European women sculptors before 1900

Afternoon

13.30-15.30

Sessions

  • An Era of Walls: Art at the Boundaries of the New Enclosures (pt 2)
  • Art, History, Exhibitions: Re-thinking Relationships (pt 2)
  • Keeping up with Fast-Changing Times: Creative Approaches to the Art History Classroom (pt 2)
  • Uses and Misuses of Premodernity: the afterlives of Ancient, Medieval and Early Modern Art (pt 2)
  • What can feminism do for Digital Humanities, what can Digital Humanities do for feminism? (pt 2)
  • Art History and Contemporary Technical and Medical Images
  • Beyond Hilma af Klint: Rediscovering Swedish Women Modernists
  • Healing and the Museum
  • Para-zomias: Prefigurative Urban Transformations in Asia

16.00-17.30

Tours, Films and Workshops:  

  • Visit to Spike Island, Bristol
  • Walking tour: The Seven Saints of St Paul’s
  • Film:  Art on the Streets
  • Workshop: Threats and Promises:  AI and Academic Integrity for (Art) Historians

17.45-19.15

Welcome and Keynote speeches:

History Through Art: The Challenges and Opportunities of an Unreliable Witness

– Ben Highmore, University of Sussex

19.30-20.30

Drinks Reception:   Royal West of England Academy (RWA)


Friday 5th April

09.00-17.00         Registration

09.00-14.30         BookFair

Morning

10.30-12.30

Sessions

  • AI, Automation, and Abstraction (pt 1)
  • Carceral Causes: Representing Political Prisoners (pt 1)
  • Ecologies of Visual Culture in the Global Middle Ages (pt 1)
  • Others Within and Without: Art, India, and Britain’s ‘Internal Colonies’ (pt 1)
  • Selling Out?: The Neoliberalism of the Art World and Academia (pt 1)
  • Embodied Experience in the Early Modern World
  • Approaches to Public Art History in Museums and Academia
  • Tempos of Making in the Pre-Modern World, 1200-1800
  • The museum is me!” Early women curators and the making of institutional collections (1880s-1960s)

12.45-13.45

Welcome and Keynote Speech: 

The AAH at 50: Art History and the Association

AAH Chair, Christopher Breward, Director of National Museums Scotland joins former AAH Chairs Christine Riding, The National Gallery, London, Evelyn Welch, University of Bristol and Nigel Llewellyn, Independent,  for a conversation with our CEO Gregory Perry

Afternoon

14.30-16.30

Sessions

  • AI, Automation, and Abstraction (pt 2)
  • Carceral Causes: Representing Political Prisoners (pt 2)
  • Ecologies of Visual Culture in the Global Middle Ages (pt 2)
  • Others Within and Without: Art, India, and Britain’s ‘Internal Colonies’ (pt 2)
  • Selling Out?: The Neoliberalism of the Art World and Academia (pt 2)
  • Mechanisms of Art History
  • Architecture Theory and History in Contemporary Art
  • Interpretations of Longinian Ideas in the Visual Imagery from the Early Modern Period to the Present
  • Pedagogy and Practice: The Role and Influence of Immigrant Artist Teachers as Agents and Conduits of Cross-cultural Exchange: 1923-1973-2023

 

 

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