Frameworks
Association of Art Historians
S e v e n t e e n t h A n n u a l C o n f e r e n ce
T h u r s d a y 11 - S u n d a y 14 A p r i l 1 9 91
T h e C o u r t a u l d I n s t i t u t e o f A r t,
L o n d o n
C o n v e n o r s :
J o a n n a W o o d a ll
J o h n N e w m a n
E n q u i r i e s :
The A A H C o n f e r e n c e O f f i ce
The C o u r t a u l d I n s t i t u t e of A r t
S o m e r s e t H o u se
S t r a n d
L o n d o n W C 2 ORN
Tel: 0 7 1 - 8 7 3 2 5 1 8 ( w i t h a n s w e r p h o n e)
F o r d e t a i l s of t h e c o n f e r e n ce
p r o g r a m m e , s e e t h e l a t e s t i s s u e o f
t h e A A H b u l l e t in

Plenary Sessions and Receptions Academic Sections and Section Convenors
These will take place in the later afternoon and evening.
Thursday 11 April
Speaker
Theme
Venue
Mark Fisher M.P
(Shadow spokesperson on the Arts)
The Visual Arts in a Social Democracy
National Film Theatre, Southbank
Opening Reception The Courtauld Institute of Art Galleries,
Somerset House
Friday 12 April
Participants
Issue
Venue
Nicholas Serota
(Director, Tate Gallery)
Neil MacGregor
(Director, National Gallery)
The Hanging and Display of National
Collections of Art
The Royal Geographical Society,
Kensington Gate
Reception Victoria and Albert Museum
Saturday 13 April
The Sotheby's Lecture
Venue National Film Theatre, Southbank
Followed by Reception
Sunday 14 April
Chairperson David Elliott
(Director, Museum of Modern Art, Oxford)
International Forum Culture, historiography and identity
Accommodation
Accommodation can be provided in the halls of residence of
King's College London and the London School of Economics.
Bookings should be made direct. Please contact:
Elizabeth Young, King's College Vacation Bureau
Tel: 071-955 7087
or Passfield Hall, London School of Economics
Tel: 071-387 3584
1 Carnival and Festival: Art and Popular Culture
Michael Camille
2 Notions of Decorum in Renaissance Narrative
Francis Ames-Lewis
3 Handmaids to Religion: Festivals, Images
and Sacred Objects 1500-1800
Katie Scott, Nigel Llewellyn
4 The Values and Politics of Display
Ian Jenkins, Paul Greenhalgh, John House
5 The Viewer in the Frame
David Solkin, Caroline Arscott
6 Some Genre Issues in Art History
Charles Ford
7 Anti-Academism before the Avant-Garde
David Bindman
8 Art Criticism after 1890
Malcolm Gee
9 Training and Education in the Plastic Arts
Helen Rees
10 Art History Within and Without
Michael Ann Holly
11 Why Study Technique?
12 Feminist Art History and Academic Institutions
Today - A European Perspective
Marcia Pointon, Ludmilla Jordanova
13 Contemporary Frameworks in Britain
Sara Selwood
14 Museum without Objects - Television, Film
and the New Visual Techniques
John Wyver
15 Market Values and Aesthetic Value
Rene Gimpel
Registration
Registration will take place from 9.30 am each morning in the
Foyer of King's College London (next door to the Courtauld
Institute). The nearest tubes are Temple, Holborn, Covent
Garden, Charing Cross.
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A S S O C I A T I O N - O F - A R T - H I S T O R I A N S
SEVENTEENTH ANNUAL CONFERENCE
11th - 14th A p r i l , 1991
at
T H E C O U R T A U L D I N S T I T U T E OF ART
SOMERSET HOUSE
F R A M E W O R K S
The AAH Conference O f f i c e , The Courtauld I n s t i t u t e o f A r t , Somerset
House,Strand, London WC2R ORN Tel: 071 873 2518
Convenors: Joanna Woodall and John Newman
Administrator: Lynda


A S S O C I A T I O N OF ART H I S T O R I A NS
INTRODUCTION
The association of Art Historians was founded i n 1974; the present
Chairman i s Professor Martin Kemp of the U n i v e r s i t y o f St Andrews. It
now has a membership o f around 1000 among those who are d i r e c t l y concerned
with the advancement o f the study of the h i s t o r y of art and design whether
by profession or vocation. The Association i s the professional
organisation f o r B r i t i s h scholars i n the f i e l d of the visual arts; i t i s
a c t i v e i n representing the interests of i t s members with government, the
Arts Council, the various Library organisations and with many other
bodies. It works i n close co-operation with conservation s o c i e t i e s and
other pressure groups as well as with i n t e r n a t i o n a l organisations f o r the
h i s t o r y of art such as the College Art Association of America and the
Comite International d ' H i s t o i r e de l ' A r t.
Embracing a wide spectrum of related f i e l d s , the Association includes
w i t h i n i t s membership those with an interest in the history or art,
a r c h i t e c t u r e , design and the applied a r t s , archaelogy, photography, f i lm
and media studies. Membership has grown i n recent years among those
concerned with new approaches t o representation and other related aspects
o f c u l t u r a l studies.
The i n t e r n a t i o n a l l y recognised quarterly journal ART HISTORY has been
published by the Association since 1978, carrying major s c h o l a r l y a r t i c l es
and a l i v e l y book review section; members also receive copies of the
Association's BULLETIN three times a year containing items of information
and news of forthcoming events. In addition the newsletter LINK i s
a v a i l a b l e to those members teaching i n schools.
An annual Spring conference i s held a l t e r n a t e l y in London and another
centre i n the B r i t i s h Isles and covers a very wide range of academic and
professional i n t e r e s t s . The Conferences are i n t e r n a t i o n a l and attract
p a r t i c i p a n t s from many of the humanities. A major feature i s the ART
HISTORY BOOK FAIR. Scholars, students, publishers, teachers,
c o n s e r v a t i o n i s t s and many others meet together to discuss matters of
mutual i n t e r e s t and to address problems and issues f a c i n g the community of
art and design h i s t o r i a n s . Conference p a r t i c i p a n t s are also able to
enjoy evening receptions and v i s i t s to places of i n t e r e s t that are often
otherwise i n a c c e s s i b l e.
Recent conferences have had themes such as 'East West : Art, Design and
C u l t u r a l History' and 'Art and Tradition'. The 1991 theme i s FRAMEWORKS
- The material and conceptual frames of reference i n which art i s defined
and i n t e r p r e t e d.
The structure of the Conference i s :
1) Plenary Sessions - In which the whole conference
(approximately 500 people) i s i n v i t e d t o p a r t i c i p a t e.
2) Academic Sections - In which the Conference d i v i d es
i t s e l f into smaller groups i n order to give sustained
consideration to s p e c i f i c aspects of the o v e r a l l theme.
3) The Business of the Association of Art H i s t o r i a n s.

PLENARY SESSIONS AND RECEPTIONS 1> '
THURSDAY 11TH APRIL, 1991.
Proposed Speaker:
Proposed Venue:
Followed by
MARK FISHER (shadow spokesperson f o r the a r t s )
w i l l speak on an aspect o f the Visual Arts
within a S o c i a l Democracy.
SOUTHBANK
A reception i n the new COURTAULD INSTITUTE OF ART -\/
GALLERIES, SOMERSET HOUSE.
FRIDAY 12TH APRIL, 1991
Proposed Speakers:
Proposed Venue:
Followed by
NICK SEROTA ( d i r e c t o r o f the Tate Gallery)
NEIL MACGREGOR ( d i r e c t o r o f the National Gallery)
w i l l speak on the hanging and d i s p l a y o f national
c o l l e c t i o n s of a r t i n the context o f the new hang
of the Tate G a l l e r y and c o i n c i d i n g with the
opening of the Sainsbury Wing o f the National
Gallery.
V i c t o r i a and A l b e r t Museum l e c t u r e theatre.
A reception, / ^ / f t V^C-2~^^
SATURDAY 13TH APRIL, 1991
Evening reception - t o be decided. f
SUNDAY 14TH APRIL, 1991
EASTERN EUROPEAN FORUM: Panel discussion
between art h i s t o r i a n s from Eastern Europe:
The Past, the Present, and the Future.
Proposed Venue: The New Theatre, Kings College London.

THEME: FRAMEWORKS
ACADEMIC SECTIONS
1 BETWEEN CLASSICAL ARCHAEOLOGY AND ART HISTORY
Ian Jenkins, B r i t i s h Museum.
2. CARNIVAL AND FESTIVAL: Art and Popular Culture - medieval onwards.
Michael Camille, University of Chicago.
3. NOTIONS OF DECORUM IN RENAISSANCE NARRATIVE
Francis Ames-Lewis, Birkbeck College.
4. HANDMAIDS TO RELIGION: F e s t i v a l s , Images and Sacred Objects
1500-1800.
Katie S c o t t , Courtauld I n s t i t u t e - Nigel L l e w e l l y n , Sussex
U n i v e r s i t y.
5. THE VALUES AND POLITICS OF DISPLAY
John House, Courtauld I n s t i t u t e - Paul Greenhalgh, V i c t o r i a and
Albert Museum - Ian Jenkins, B r i t i s h Museum.
6. THE VIEWER IN THE FRAME - renaissance onwards.
David S o l k i n , Courtauld I n s t i t u t e - Caroline A r s c o t t , Courtauld
I n s t i t u t e.
7 INVENTING AND DISCOVERING THE GENRES - 1500-1900
Charles Ford, University College London.
8. ANTI-ACADEMICISM BEFORE THE AVANT-GARDE - 18th and 19th century.
David Bindman, U n i v e r s i t y College London - P h i l i p p e Bordes, Mus£e de
l a Revolution Francaise, V i z i l i e .
9. ART CRITICISM AFTER 1890: Authors, Texts, Contexts.
Malcolm Gee, Newcastle Polytechnic.
10. TRAINING AND EDUCATION IN THE PLASTIC ARTS
Helen Rees, Design Museum.
11. ART HISTORY WITHIN AND WITHOUT: The study and teaching of a rt
h i s t o r y i n s i d e and outside formal i n s t i t u t i o n s.
Michael Anne H o l l y , U n i v e r s i t y of Rochester,New York.
12. WHY STUDY TECHNIQUE?
Gerry Hedley, Courtauld I n s t i t u t e.
13. FEMINIST ART HISTORY AND ACADEMIC INSTITUTIONS TODAY - A European
perspective.
Marcia Pointon, Sussex U n i v e r s i t y - Ludmilla Jordanova, Essex
Uni v e r s i t y.
14. CONTEMPORARY FRAMEWORKS IN BRITAIN
Sara Selwood, A r t and Society.
15 MUSEUMS WITHOUT OBJECTS - T e l e v i s i o n , f i l m and new visual
technologies, including v i r t u a l r e a l i t i e s.
John Wyver, I l l u m i n a t i o n s.
16. MARKET VALUES AND AESTHETIC VALUE - Past, present and f u t u re
Rene Gimpel, Gimpel F i l s Limited.

THEME: FRAMEWORKS
The material and conceptual frames of reference
i n which art i s defined and interpreted
1. BETWEEN CLASSICAL ARCHAEOLOGY AND ART HISTORY
Ian Jenkins, Greek and Roman Department, B r i t i s h Museum.
The study of c l a s s i c a l art has long been regarded as a d i s c i p l i ne
d i s t i n c t from art h i s t o r y . How did t h i s schism come about? Is i t
d e s i r a b l e ? Is i t r e v e r s i b l e?
This section w i l l review the d i v i d e between c l a s s i c a l archaeology and
a r t h i s t o r y through the h i s t o r i c a l and contemporary reception of
sculpture and Greek vases.
2. CARNIVAL AND FESTIVAL: Art and Popular Culture - medieval onwards.
Michael Camille, U n i v e r s i t y of Chicago.
This section w i l l focus upon the ways i n which popular f e s t i v e forms
i n p r e - i n d u s t r i a l society, such as Carnival and other seasonal
r i t u a l s , are embodied and a r t i c u l a t e d through images.
As well as depictions of such events i n work of a r t i s t s such as
Breughel and Beham, papers are welcome which address the actual
props, grotesque body images, f o l k - o b j e c t s u t i l i s e d i n t h is
'performance a r t ' o f the pre-modern period.
In addition t o s p e c i f i c case studies i n medieval, renaissance and
even modern contexts we hope to have t h e o r e t i c a l papers addressing
questions such as:
- whether such r i t u a l s were s i t e s of of social resistance t o
the established order.
- Bakhtin's ideas about c a r n i v a l c u l t u r e as i n s t i t u t i o n a
l i s e d transgression.
3. NOTIONS OF DECORUM IN RENAISSANCE NARRATIVE.
Francis Ames-Lewis, Birkbeck College.
This session seeks t o approach d i s c u s s i o n o f the treatment of
n a r r a t i v e i n paintings and r e l i e f sculpture of the Renaissance
(defined as broadly as i s reasonably possible) through the
'framework' of the theory of decorum. The debate might be
p r o v i s i o n a l l y defined as: in what ways can the vast range of modes
of narrative treatment be embraced w i t h i n , and comprehended i n terms
of, the renaissance understanding of decorum i n i t s various
manifestations? Does narrative d i f f e r i n d i f f e r e n t places at
d i f f e r e n t times because of d i f f e r e n t perceptions of, or emphasis on,
the decorum of (for example) s p a t i a l context, or types of f i g u r e s,
of youth and age, of f i g u r a l movement, of gesture and expression, or
of dress and social customs? Is there any evidence, in the form of
e i t h e r t h e o r e t i c a l writings or v i s u a l images, t o suggest that even
the function or l o c a t i o n of n a r r a t i v e works may be affected by
notions of decorum? The papers offered w i l l i d e a l l y approach broad
issues of these sorts, and w i l l lead i n t o general discussion o f the
influence o f decorum theory on renaissance narrative a r t i s t s.

4. HANDMAIDS TO RELIGION: F e s t i v a l s , Images and Sacred Objects 1500-1800
Katie Scott, Courtauld I n s t i t u t e - Nigel Llewellyn, Sussex
U n i v e r s i t y.
One of the ambitions of t h i s session i s t o a t t r a c t papers on the
widest range of objects used i n the exercise and experience of
r e l i g i o u s l i f e i n the early modern period. In addition t o p a i n t i n g,
sculpture and a r c h i t e c t u r e , i t i s hoped that papers w i l l be
forthcoming on some or any of the f o l l o w i n g : c o n f r a t e r n i t y images,
pilgrimage c e r t i f i c a t e s or badges, f e s t i v a l s and church f u r n i s h i n g s,
l i t u r g i c a l vessels, vestments, p r i n t s and books. By s t r e s s i ng the
range and disparate functions served by these objects i n the
c e l e b r a t i o n of f a i t h , i t i s hoped that speakers w i l l consider the
various ways i n which r e l i g i o u s and social l i f e intersected. To the
most f a m i l i a r s a n c t i f y i n g r o l e played by the church, namely t o hatch,
match and dispatch, might be added, f o r instance, i t s guardianship of
the s i m i l a r r i g h t s of passage i n the reproduction of s k i l l e d trades.
Moreover, at the level of t h e o l o g i c a l c o n f l i c t and p o l i t i c al
m y s t i f i c a t i o n , papers w i l l be welcomed which d i r e c t l y engage with the
i d e o l o g i c a l i n t e r e s t s served by the r e l i g i o u s art of the period.
Common t o a l l papers i n t h i s session should be an awareness of the
church as a s o c i a l i n s t i t u t i o n.
THE VALUES AND POLITICS OF DISPLAY
John House, Courtauld I n s t i t u t e - Paul Greenhalgh, V i c t o r i a and
Albert Museum -Ian Jenkins, B r i t i s h Museum.
This section w i l l consist of four separate sessions:
1. Between Archaeology and Art History, the status of the Antique
Object. (Ian Jenkins) (see section 1).
2. The Display of Non Western Objects. (Paul Greenhalgh).
3. Between Objects and B u i l d i n g s . (John House).
4. Debate. ( A l l c h a i r s)
The way that meanings are achieved and/or transformed by the medium
o f d i s p l a y i s of p a r t i c u l a r i n t e r e s t i n t h i s section. The f i r s t two
sessions, by focussing on the Antique and Non-Western Art, w i ll
present s p e c i f i c case-studies where issues from outside of what might
be termed the 'aesthetic dimension' have had a bearing on how objects
were presented and subsequently understood. The status and role of
objects which have become anonymous by v i r t u e e i t h e r of t h e ir
'ancientness' or t h e i r 'otherness' w i l l form the conceptual spine of
the sessions.
The t h i r d session w i l l concentrate on the r e l a t i o n s h i p between the
museum as a s p e c i f i c piece of a r c h i t e c t u r e and the objects i t
contains. It w i l l present case-studies which explore the
transformations which occur i n r o l e and meaning of objects once they
have entered into the museum/gallery/exhibition environment, and the
s i g n i f i c a n c e that these transformations have f o r subsequent
construction of art h i s t o r i c a l models. Papers may well be about the
issues surrounding the building/renovating of museum b u i l d i n g s or
about the p r a c t i c a l as well as i d e o l o g i c a l problems of museum
d i s p l a y , i n the past and the present.

6. THE VIEWER IN THE FRAME - renaissance onwards.
David S o l k i n , Courtauld I n s t i t u t e - Caroline A r s c o t t , Courtauld
I n s t i t u t e.
This section w i l l deal with t o p i c s from the renaissance onwards which
set out t o analyse the c o n s t r u c t i o n of the viewer, as a means o f
exploring the r e l a t i o n s h i p between c u l t u r a l production and s o c i al
formations i n d i f f e r e n t h i s t o r i c a l s i t u a t i o n s . This issue can be
addressed from a v a r i e t y of angles, ranging from s o c i o l o g i c a l studies
of reception t o various modes of i n v e s t i g a t i n g the viewer as subject
i n and o f representation. The f o l l o w i n g s o r t s o f materials w i l l be
considered:
1 - t e x t s that attempt t o define audiences and t o p o l i c e t h e ir
q u a l i f i c a t i o n s t o view (eg. a r t theory, c r i t i c i s m , writings on t a s t e,
etc.)
2 - p a r t i c u l a r works and the ways i n which they i n t e r p e l l a t e t h e ir
viewers.
3 - images that o v e r t l y declare an i n t e r e s t i n spectatorship. (eg.
pictures o f connoisseurs, e x h i b i t i o n s , audiences, e t c ).
7. INVENTING AND DISCOVERING THE GENRES - 1500 -1900.
Charles Ford, U n i v e r s i t y College London.
This section w i l l cover topics r e l a t i n g t o the invention and
representation o f the c a t e g o r i e s , or genres, of p a i n t i n g during the
period 1500-1900. It w i l l challenge the emphasis on the progressive
development o f genres of p a i n t i n g , and explanation o f t h is
development i n terms of the i n c r e a s i n g s e c u l a r i s a t i o n of s o c i e t y , the
fragmentation of markets, the emergence o f the s p e c i a l i s t producer
and the triumph of unfettered a r t i s t i c s e n s i b i l i t y over dominant
codes o f decorum.
The section w i l l address, instead, the i n d e n t i f i c a t i o n of the genres
and t h e i r c l a s s i f i c a t i o n i n more precise h i s t o r i c a l contexts.
Issues such as the ordering of the genres i n terms o f merit,
statements r e l a t i n g t o the various s p e c i a l i s t producers,
c l a s s i f i c a t i o n s and discourses derived from l i t e r a r y and r h e t o r i c al
theory, terminologies i n contemporary documents o f a l l kinds, the
impact of i n s t i t u t i o n s f o r d i s p l a y i n g a r t works, indeed, any contexts
f o r understanding contemporary evaluation w i l l be considered
relevant.
8. ANTI-ACADEMICISM BEFORE THE AVANT-GARDE - 18th and 19th century.
David Bindman, U n i v e r s i t y College London - P h i l i p p e Bordes, Muse'e de
l a Revolution Francaise, V i z i l l e.
The aim o f the s e c t i o n i s t o explore the r e s i s t a n c e t o academic
i d e a l s mainly i n the 18th and 19th c e n t u r i e s i n order t o see how f a r
i t represents a c o n s i s t e n t phenomenon. England and France w i l l be
the centre of the d i s c u s s i o n but i t i s hoped that the wider European
context w i l l also be looked at. Contributions might include the
Meditateurs, Carstens and Benjamin Robert Haydon.

9. ART AND CRITICISM AFTER 1890 - Authors, t e x t s , contexts.
Malcolm Gee, Newcastle Polytechnic.
The aim of t h i s section w i l l be t o examine a l l aspects of a rt
c r i t i c i s m i n the period c i r c a 1900 t o the present. There w i l l be
papers which:
- discuss the work of i n d i v i d u a l w r i t e r s.
- examine the i n s t i t u t i o n a l i s a t i o n of c r i t i c i s m , and i t s base
i n the p u b l i s h i n g trade.
- analyse c r i t i c a l language i n d i f f e r e n t h i s t o r i c al
contexts, r e l a t i n g i t t o other p r a c t i c e s and t o p o l i t i c a l or other
i n t e r e s t s o f the period.
The section w i l l consist o f four sessions:
1. General and/or t h e o r e t i c a l aspects 1890-1914.
2. C r i t i c i s m 1900-1945.
3. C r i t i c i s m 1945-1980.
4. Recent and contemporary issues.
10. TRAINING AND EDUCATION IN THE PLASTIC ARTS
Helen Rees, Design Museum.
This session w i l l examine aspects of the education and t r a i n i n g o f
a r t i s t s , designers and a r c h i t e c t s , past and present. The i n t e n t i on
i s t o look at the o r i g i n s and development o f a r t i s t i c t r a i n i n g , and
i t s e f f e c t on the status o f p r a c t i t i o n e r s , as perceived by both t h e ir
peers and the p u b l i c . Papers could include discussion o f
educational philosophy and methodology, the nature of acquired s k i l ls
and the value ascribed t o them and the r e l a t i o n s h i p between t r a i n i n g,
i n t u i t i o n and notions of c r e a t i v i t y . The concept o f education could
also be extended t o include media such as t e l e v i s i o n f o r
n o n - s p e c i a l i s t audiences. The session w i l l not confine i t s e l f t o
the western concept o f f i n e a r t s , but w i l l cover c r a f t , design, the
decorative arts and a r c h i t e c t u r e i n d i f f e r e n t contexts.
11. ART HISTORY WITHIN AND WITHOUT: The study and teaching of a rt
h i s t o r y inside and outside formal i n s t i t u t i o n s.
Michael Anne H o l l y , U n i v e r s i t y o f Rochester, New York.
This section w i l l deal with issues of c r i t i c i s m and h i s t o r y by
reference t o 'old' versus 'new' a r t h i s t o r y , problems with granting
agencies, controversies i n museum o r g a n i z a t i o n etc.
12. WHY STUDY TECHNIQUE?
Gerry Hedley, Courtauld I n s t i t u t e.
In recent years there has been a m u l t i p l i c a t i o n of t e c h n i c a l studies
o f paintings. These studies have normally come from the f i e l d of
conservation, but they i n c r e a s i n g l y penetrate and play a r o l e i n a rt
h i s t o r y . However, although the study of technique i s c e n t r a l t o t he
material and a e s t h e t i c aspects of conservation p r a c t i c e , the
framework f o r t e c h n i c a l study within a r t h i s t o r y i s by no means so
apparent. The d i s c i p l i n e has tended t o be i n t e r p r e t e d , somewhat
crudely, in'one of two ways: either, i t i s seen as an extension of
connoisseurship, with the p o t e n t i a l o f p r o v i d i n g additional f a c ts
about p a r t i c u l a r paintings, which may bear on a t t r i b u t i o n or, i t i s
seen as providing evidence, that paintings are understandable
material products o f human labour, which de-mystifies the notion o f

12. (Continued)
a r t i s t i c production. Nor i s i t s penetration i n t o art h i s t o r y very
developed, technical information with high s c i e n t i f i c content may
often be avoided or misunderstood; i t i s , perhaps, s i g n i f i c a n t that
the areas of s c i e n t i f i c i n v e s t i g a t i o n which have found most favour
with art h i s t o r i a n s are those which y i e l d images such as
x-radiography and infra-red photography. Additionally, how
informative i s our present method o f study of techniques? i f the
conclusion of the National Gallery e x h i b i t i o n covering Rembrandt's
technique was that h i s technique did not d i f f e r s i g n i f i c a n t l y from
those of h i s contemporaries, does t h i s t e l l us something about
Rembrandt, or point instead t o the l i m i t a t i o n s of present technical
accounts?. With the National G a l l e r y holding a s e r i e s of three such
e x h i b i t i o n s about 'art i n the making' t h i s seems a good moment t o
consider the role of technical studies i n a r t h i s t o r y.
We w i l l consider:
- how the study of techniques has been seen h i s t o r i c a l l y,
- the l i m i t a t i o n s of technical studies as presently made,
- the s i g n i f i c a n c e they are seen t o have.
13. FEMINIST ART HISTORY AND ACADEMIC INSTITUTIONS TODAY - A European
Perspective.
Marcia Pointon, Sussex University - Ludmilla Jordanova, Essex.
U n i v e r s i ty
The aim of t h i s section i s t o provide a forum f o r the evaluation of
the status and condition o f feminist teaching and research i n higher
ecucation and c u l t u r a l i n s t i t u t i o n s i n the European Economic
Community. B r i t i s h u n i v e r s i t i e s and polytechnics may be seen t o be
promoting "Women's Studies" i n order to s u i t market forces and to
a t t r a c t , i n p a r t i c u l a r , North American students. But i n many
i n s t i t u t i o n s there i s very l i t t l e genuine support f o r f e m i n i s t work,
which i s s t i l l perceived as marginal i n the competition f o r promotion
and research funding. Its very p o p u l a r i t y as a subject i s used
against i t , t o marginalise i t as p o p u l i s t and s u p e r f i c i a l . Feminist
work has become more t h e o r e t i c a l l y assured. What i m p l i c a t i o n s does
t h i s have f o r the p o l i t i c s of the i n s t i t u t i o n s?
In B r i t a i n , e x h i b i t i o n s such as 'Degas Women' (1989-90) were
recognised as good business, paintings which have been the subject of
f e m i n i s t analysis have been brought out of museum stores and Thames &
Hudson have just published Whitney Chadwick's Women, Art and Society.
To what extent are events l i k e these advances f o r feminists v i s - a - v is
the i n s t i t u t i o n as represented by Professor S i r Ernst Gombrich's view
that the h i s t o r y of art should not go o f f at a tangent into women's
studies? What kinds of work are valued i n i n s t i t u t i o n s which are
s t i l l p r i m a r i l y , i n B r i t a i n at l e a s t , run by men, whether d i r e c t o rs
of publishing houses, museums, u n i v e r s i t i e s or polytechnics?
Are things d i f f e r e n t i n continental Europe? And what, i f any,
should be the plans of feminist a r t h i s t o r i a n s f o r the twenty f i r st
century?


14. CONTEMPORARY FRAMEWORKS IN BRITAIN
Sara Selwood, A r t and Society.
This session w i l l focus on current c u l t u r a l p o l i c i e s , t h e i r e f f e c ts
on the c u l t u r a l apparatus and the promotion and production of a r t.
Proposed discussions on subjects such as:
- public a r t
- museums' r o l e as s i t e s of tourism
- heritage and l e i s u r e
- targets f o r p u b l i c a l l y subsidised g a l l e r i e s and museums
- the enforced c o m p a t i b i l i t y o f high art and popular c u l t u re
- support f o r minority forms and t h e i r marginalisation
- public support f o r 'avant-gardism'
- the p e r s i s t e n c e of modernism through the s t a t e system
- c r i t i c a l w r i t i n g and contemporary e x h i b i t i o n s.
15. MUSEUMS WITHOUT OBJECTS - T e l e v i s i o n , f i l m and new v i s u al
technologies, including v i r t u a l r e a l i t i e s.
John Wyver, I l l u m i n a t i o n s.
This section w i l l explore the r e l a t i o n s h i p s between e x h i b i t i o n s and
museums as t r a d i t i o n a l l y conceived and contemporary moving image
technologies, including f i l m and t e l e v i s i o n , h i g h - d e f i n i t i o n video,
i n t e r a c t i v e multi-media and v i r t u a l r e a l i t y simulations.
At present, the planned sessions are t o be:
- the hi s t o r y of the i n t e r - r e l a t i o n s h i p s between museums and
moving images, considering for example, the i n s c r i p t i o n of theories
o f d i s p l a y into e a r l y f i l m s about the v i s u a l a r t s ; the p o r t r a y a l s o f
museums, and r e l a t e d ideas about e x h i b i t i o n , i n the h i s t o r y o f t he
cinema; the impact of media on recent c u r a t o r i a l and presentational
s t r a t e g i e s.
-a demonstration-based presentation of the p r a c t i c a l i t i e s o f
moving images w i t h i n , as complements t o , or as replacements o f
museums and e x h i b i t i o n s ; this should feature demonstrations of both
i n t e r a c t i v e multi-media technologies and h i g h - d e f i n i t i o n video, as
well as tapes of v i r t u a l r e a l i t y simulations.
- a more t h e o r e t i c a l session, discussing the impact and
i m p l i c a t i o n s of moving image technologies.
16. MARKET VALUES AND AESTHETIC VALUE - Past, present and future.
Rene Gimpel, Gimpel F i l s Limited.
The following are areas of i n t e r e s t :
- market influence on a r t i s t s , c o l l e c t o r s , c r i t i c s and
c u r a t o r s;
- the f u n c t i o n , e f f e c t and influence of monetary values on
a e s t h e t i c judgement;
- the r o l e o f the a r t object as a speculative and investment
v e h i c l e;
- the s o c i o l o g y of public a t t i t u d e s towards the a r t market;
- the psychology o f c o l l e c t i n g.

S P O N S O R S H I P
The Association of Art Historians Conference
For us, sponsorship has two fundamental purposes
- f i r s t l y t o enhance the s i g n i f i c a n c e and p r e s t i g e of the event,
- secondly t o enable us t o f i n a n c i a l l y a s s i s t p a r t i c i p a n t s who would
otherwise be unable t o come.
1. The three RECEPTIONS, two o f which are linked with plenary sessions,
w i l l take place on the evenings of Thursday 11, Friday 12 and Saturday 13
A p r i l , 1991. They w i l l include approximately 500 people and be held a t
venues such as The Courtauld I n s t i t u t e o f A r t G a l l e r i e s , The V i c t o r i a &
Albert Museum, The B r i t i s h Museum, Queen's House, Greenwich.
The sponsor could 'host' the reception.
2. We would l i k e t o l i n k the ACADEMIC SECTIONS with appropriate
i n s t i t u t i o n s : e.g. section 6 'The Viewer i n the Frame' might be sponsored
by The Observer or The Spectator!
The sponsor would finance the section and enable us t o i n v i t e t o p - c l a ss
i n t e r n a t i o n a l speakers and p a r t i c i p a n t s.
Such sponsorship could be acknowledged during the proceedings of the
s e c t i o n , as w e l l as i n the Conference Programme.
3. DIRECT SPONSORSHIP OF SCHOLARS AND STUDENTS.
This sponsorship would cover fares and accomodation t o enable f i n a n c i a l ly
disadvantaged students and scholars t o attend the conference with a
p a r t i c u l a r focus on p a r t i c i p a n t s from Eastern Europe.
4. PRINTING AND DESIGN
This i s an i n v i t a t i o n f o r a designer/printer t o c o n t r i b u t e i n k i n d and
show h i s o r her c r e a t i v i t y i n producing a Conference Programme,
poster/booking form and conference folder, and support The A s s o c i a t i on
of Art H i s t o r i a n s Conference.
These products could include an advertisement for the design company
responsible f o r them - an advertisement addressed t o the important
p o t e n t i a l markets of museum and e x h i b i t i o n curators, p u b l i s h e r s , school
teachers and academic art h i s t o r i a n s.
5. ADVERTISING IN THE PROGRAMME
Another way t o support t h i s conference would be f o r a company t o take a
page of a d v e r t i s i n g i n the Conference Programme - or simply send a
donation which would be acknowledged i n the programme.
6. LUNCHES
Delegates are provided with a sandwich lunch during the conference. This
i s an opportunity f o r sponsors, p a r t i c u l a r l y publishers, who might l i k e t o
use i t as an occasion t o launch a new book and support an occasion when
a l l the conference delegates gather together.
7. BOOK FAIR
The A r t History Book F a i r i s a major feature o f the Conference and o f f e r s
f u r t h e r opportunities f o r sponsorship.
Contact: Pamela Courtnay
T e l : 09817 344
The AAH Conference Office T e l : 071 873 2518
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S P O N S O R S H I P
The Association of Art Historians Conference
Proposed amounts are only guidelines and subject t o d i s c u s s i o n.
A l l sponsorship w i l l be acknowledged i n the Conference Programme.
1. THREE RECEPTIONS - see page 3.
Hire of Venues £500 - £600 each
Catering from £1.500 each
2. ACADEMIC SECTIONS - see page 4.
£2.000 each
3. DIRECT SPONSORSHIP OF SCHOLARS AND STUDENTS
£500 each
4. PRINTING AND DESIGN
Conference Programme
Poster/Booking Form
Conference Folder contribution i n k i nd
5. ADDVERTISING IN THE PROGRAMME
F u l l black and white page £500
Half black and white page £300
6. LUNCHES/BOOK LAUNCH
from £500 each
7. BOOK FAIR
Contact: Pamela Courtnay
Albert House, Monnington-on-Wye
Hereford HR4 7NT
Tel: 09817 344
The AAH Conference O f f i c e , The Courtauld I n s t i t u t e of A r t , Somerset
House, Strand, London WC2R 0RN Tel: 071 873 2518
Convenors: Joanna Woodall and John Newman
Adminstrator: Lynda Stephens - Sponsorship Secretary: Elisabeth Rutherford
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