The Conference would have been impossible without the help ami support of a wide range of institutions and individuals. First and foremost, we are indebted to the Courtauld Institute of Art. and especially to the Director Eric Fernie and the Registrar Jim Hearnshaw. for giving us free use of the Institute's spaces and facilities, and for much valued support and advice; the Courtauld is playing host to the Conference in the true sense of the term. We have also been most generously supported by the other institutions that have offered us the free use of their spaces: the National Gallery, for an academic session and a plenary; the National Portrait Gallery, for a session and a party; the Banqueting House, % hitehall. for a session and a party; and the British Library, for a session. We should especially like to thank Neil MacGregor and Kathleen Adler at the National Gallery. Charles Saumarez Smith at the National Portrait Gallery. Simon Thurley ol Historic Royal Palaces, and Scot McKendrick of the British Library. We are particularly pleased that so many other London institutions have been keen to join with us in this Conference; it is an example of just the sort of inter-institutional collaboration that the Courtauld Institute is keen to foster. We are also deeply grateful to the sponsors of the Conference, whose support has enabled us to mount it in its present form; without them, the receptions that will be the social core of the Conference would have been impossible. Hie Oxford Historj of \rt (Oxford University Press) arc the sponsors of both Daniel Libcskind's plenary lecture on Saturday and, in associ­ation with Moet & Chandon. the party that follows it at the Banqueting House. Apollo are sponsoring the Friday Plenary at the National Gallery and the party afterwards at the National Portrait Gallery; and the Friends of the Courtauld are sponsors of the Sunday party in the Courtauld Gallery. In addition. Atrium Bookshop are hosting a reception on Friday evening. and the Henry Moore Foundation has made a generous grant towards the mounting of those parts ol the programme that deal with modern sculpture. We are also grateful to the British Academy and the Goethe Institut for their contributions to the travel costs of overseas speakers. We should especially like to thank Kate Colquhoun and Simon Mason of Oxford University Press. Paul Josefowitz, Chaiman and Publisher of Apollo, Timothy Llewellyn, Chairman of the Friends of the Courtauld and Director ol the Henry Moore Foundation, and Jo Walton of Atrium. The administration ol the Conference and the Bookfair would have been impossible without the energy, enthu­ siasm and sheer effectiveness of Lyn Baber. We are also most grateful to Kate Woodhead whose experience and wisdom has been invaluable, as has her practical help with many aspects, particularly the Bookfair which she and Lyn have organized. We have also benefited greatly from the advice and experience of Joanna Woodall and Sarah Kane, from colleagues here at the Courtauld and the members of the AA H executive committee. For the smooth running of the event itself, we are in­ debted to our student helpers, and especially to Andrew Beddard. who has worked with us throughout the process, and Werner Freundel. It has also been a great pleasure to work with Pep Sala. who has designed all the Conference material with great flair and vision, from the booking form to the carrier bags and this booklet. But, above all. the success of the Conference as an academic event lies with the session conveners and the individual speakers thev have selected. The session outlines and abstracts of papers follow: we hope they prove stimulating and enjoyable. Acknowledgements Q British Museum and Library Q National Gallerj Q National Portrait Galler) Courtauld Institute (ti Art Q King's College Q Banqueting House Westminster Central Hall (Methodist Central Hall) Z HOLBORN TOTTENHAM COVENT v LEICESTER GARDEN SQUARE LEICESTER Q r NC CROSS. 1 SQUM*E EMBANKMENT WESTMINSTER * WESTMINSTER BRIDGE The National Gallery, the National Portrait Gallery and the British Library are all within easy walking distance of the Courtauld Institute. For the Banqueting House and Westminster Central Hall take the no. 11 bus from the stop directly outside Kings College, or the underground from Temple to Westminster. REGISTRATION All sessions, including those at other London sites, wil be registered at the Courtauld Institute. Registration will take place in the entrance hall of the Courtauld Institute from Ha m onwards on Fridav and from 9 am onwards on Saturday and Sunday. The registration desk will he staffed continuously throughout the conference. On both Saturday and Sunday in-house academic sessions (those on the Courtauld/Kings site) begin at 9.45; out-house sessions begin at 10.15. Check the separate timetable for precise timings of sessions. A list of delegates registered for the conference up until Wed. 2nd April can be found in the delgate packs. ACADEMIC SESSIONS: TIMINGS AND VENl IS Abstracts for the academic papers are printed in this brochure; they appear in the order in which they will run within each session. For precise timings, see the timetable; please check the notice boards in the Kings and Courtauld entrance halls for any last minute changes or cancellations to this published programme. The majority of the academic-sessions will take place on the Courtauld/Kings site, which will allow for interchange between papers and sessions. Several sessions are partly or wholly on sites elsewhere — this is indicated with the session information in this brochure and on the separate timetable. Location of out­house sessions will be signed at the institutions in which they are hosted. STUDENT HELPERS There will be a team of student helpers working at the Conference, identifiable by their conference T-shirts. These T-shirts are on sale at the registration desk. BOOKFAIR The Bookfair will take place in the Great Hall and Council Room of Kings College, next door to the Courtauld Institute, on Saturday and Sunday from 9.00-5.00. An official opening ceremony will take place on Saturday lunchtime at 1.00. Over 20 exhibitors will be displaying and selling the latest range of art books and periodicals; there will also be antiquarian and second-hand books. A catalogue describing each of the publishers and book­sellers is to be found in the delegate packs. THESIS PRIZE This year there will be two awards, both undergraduate, sponsored by Yale University Press and Heaktion Books. The prize will be awarded at the Bookfair by the Yale University Press stand (in the Great Hall) at 12.15 on Saturday, when the Bookfair is officially opened. Joint Studio Prize winners: Pamela Hawkes and Graham Sergeant. Art History Bused Prize uinner: Anne Ravenhill. Conference Information Till. ART BOOK Sue Ward, the executive editor, am) Howard Hollands, honorary' editor, will he manning The Art Booh table at the hookfair and welcome enquiries from subscribers and eontihutors. REFRESHMENTS Coffee and Tea will be served on Saturday and Sunday before the morning session and after the afternoon session in the Great Hall and Council Room of Kings College. A buffet lunch will be served in the Great Hall at Kings. The lunch break has been extended to allow for travel to and from out-house sessions and for browsing at the Booklair, and on Sunday for tire Special Interest Group meetings. Tea and Coffee will not be served at the out-housed sessions. BADGES Please wear your badges at all times; they will function as your pass into the Courtauld Gallery, as entrance tickets to the parties at the National Portrait Gallerv and Courtauld Gallery, to tile academic sessions and as identification for security staff. CONTACT PHONE NUMBER To contact the registration desk, the conference conveners, or to leave messages phone 0171 873 2777 or fax 0171 873 2781 COMPUTERS AND I III INTERNET A computer terminal where participants can access the internet will be available in the Witt library of the Courtauld Institute. COl RTAULD GALLERY AND EXHIBITIONS Free entrance to the Courtauld Gallery, and to the exhibi­tion The Art of Etching (in the exhibition gallerv off the Courtauld Institute entrance hall) on production of delegate badge. There will also be a display of sculpture by Chinedu Umenyilora (architect, London), which relates to his paper in the Plau/Non Plan session (no. 6), in the courtyard attached to the Gallery cafe. This can be viewed from the courtyard above or with access via the Courtauld Institute cafe. The East Wing Collection — an exhibition of significant contemporary art selected by Courtauld Institute students — can be viewed in Seminar Rooms 1, 2 and 3 and on the back staircase of the Institute (follow signs for seminar room 4). AMI .MEMBERSHIP It will be possible to join the AAH at the registration desk and during lunch at a desk in the Entrance Hall of Kings. If you would like further information please contact the administrator, the Association of Art Historians 70-77 Cowcross Court. Cowcross Street, Clerkenwell, EC IN 6BP AAII BUSINESS Executive Comittee Meetin Friday flh April. 11.00, Seminar Room I, Courtauld Institute. Special Interest Group Meetings: Sunday 6th April, 12.30-1.30. These will take place in the Courtauld Instil See separate timetable for locations. Anual General Meeting: 4.45, New Theatre, Kings College PLENARY EVENTS Friday 4th April. 4.30: National Gallery, Sainsbury Wing Lecture Theatre. Forum Discussion on National Galleries. National Identities and the Creation of Canons, sponsored by Apollo. Speakers are Neil MacGregor {.National Gallery) and Ronald de Leeuw (General Director, Rijksmuseum, Amsterdam). Chair: Robin Simon {Apollo). Entrance by ticket only — if you requested one this will be in your conference pack. If you did not request a ticket but would like to attend, there may still be space available — ask at registration desk. Saturday ."illi April. 5.30: Westminster Central Hall I Methodist Central Hall) Plenary Lecture by Daniel Libeskind (architect of the Boilerhouse project at the Victoria and Albert Museum): Out/of History, sponsored by the Oxford History of Art (OUP). RECEPTIONS Friday 4lli April. 6.30-8.30: National Portrait Gallerv and Atrium Books, Delegates have a choice between a reception at the National Portrait Gallery, sponsored by Apollo, and a champagne reception at the Atrium Bookshop. Cork Street. Entrance with delegate badge. Saturday 5th April. 6.45-8.30: Banqueting House. Whitehall Sponsored by the Oxford History of Art (OL'P). where this series will be officially launched (entrance by ticket only, to be found in the delegate packs). Sunday, 6th \pril. 6.30-8.30: Courtauld Gallery- Sponsored by the Friends of the Courtauld Institute. Entrance with delegate badge. H Oxford I lisron of .Alt Forum Discussions will take place on Friday afternoon, from 2.00-4.00 A. PUBLISHING Chair: Shearer We si (University of Birmingham) This forum will consist of a brief introduction followed by an opening discussion of some of the issues and problems shared by publishers and authors within the context of art historv publishing. Particular emphasis will be given to editorial policies, targeting a journal or publisher, effective preparation of book proposals, submission of article and book manuscripts, as well as common concerns about academic and commercial pressures. Audience involvement is essential, and it is hoped that members of the audience will come with questions they wish to explore with the publishers or comments about issues of mutual concern within academic art history publishing generallv. The participants in the forum will include Caroline Flam (The Burlington Magazine); Adrian Rifkin {Art History): K11> Miller (Harvey Miller). Michael Leaman (Reaktion Books). Simon Mason (Oxford History of Art). B. COMPUTERS AND IMAGING IN AIM HISTORY (hair: Christopher Bailey (University of Northumbria at Newcastle) The panel session will provide an opportunity for delegates to learn about a number of newly founded services which aim to support the teaching and research of art and design history. The participants on the panel will include rcpresen­tati\es of the Arts and Humanities Data Service, which has just established a Visual Arts Service Provider, the CTI Centre for Art and Design, newh launched at Brighton University, and the co-ordinator ol the Association - own Web Site, which is based at Goldsmith's College. All these services are at a formative stage ol development, 'flu- i - an opportunity for delegates to contribute directl) by express­ing what von would like to see provided b\ these promising Internet projects. Kach speaker will give a brief presenta­tion lasting 15-20 minutes following which tin- session will be thrown open for general discussion of issues of interest to delegates. Astrid \\ issenburg: The Arts and Humanities Data Service www.ahds.ac.uk Since January the interests of history of art and design have been represented In the Visual Arts Data Service, based at Surrey Institute of Art and Design, and managed by a consortium of Universities and Colleges. A Service Officer has recently been appointed. The AHDS L ser Sen ices Development Officer Astrid Wissenburg will describe the work of the AHDS to date and outline what i - expected of the \ isual Arts Data Service over the next few vears. Suzette Worden: The CTI Centre for Art and Design www.bton.ac.uk/ctiad/ CTI Art and Design, based in the Faculty of Art. Design & Humanities, at the I nrVersitv of Brighton, is one of 24 United Kingdom subject-based centres working to encour­age the use of learning technologies in I k higher educa­tion. A sister organisation. CTICH was set up earlier to cover Archaeology, History and Art History, while CTI Art and Design officially began operating on I st June L996. Subject- supported include Fashion and Textile Design. Film/Video/Photography, Fine Art, Graphic Design. Three-Dimensional Design, and Typography. The Centre runs a Web server, organises workshops and makes departmental visits to the Higher Education Art and Design sector. CTIAD publishes a newsletter (Out Line I. and will build and maintain a database of IT resources for Art & Design edu­cation. Suzette Worden will talk about the range of sen ices provided h\ CTIAD and how the centre fits into the context of the recent development of art and design practice and other computing initiatives of interest to art history such as IT in museums. Duncan Branlev: The Association nf Art Historians Web Site w ww.gold.ac.uk/aah The AA H %eb Site is a new service launched in Februarv 1997. It will include links to Association publications through Blackwell's home page providing abstracts and contents pages of the Journal, the Art Book and the Bulletin, to Internet resources of relevance for teaching and research, news of conferences and calls for papers, and details of Association officers and contacts. Duncan Branley. the site co-ordinator. will explore some options for the further development of the site. Forum Discussions C. ISSUES IN CONSERVATION (hair: Sharon Cather (Courtauld Institute of Art) The concept of authenticity in relation to works of art has been quite naturally a central issue throughout the history of restauration. Yet with even the most cursor) review of historic material, it is readilv clear that notions of authenticity have meant different things at different times, as conceptions oi the work ol art have changed. The act of restoration or re-presentation of a work of art is a necessarily profoundly interpretative act. and as such, the responsibility lor the care and display oi cultural heritage brings with it the need for constant assessment of attitudes. The session would hope to broadly examine contemporary and historic notions of authenticity, and to look at how these are practical!) realised. Speakers will include Slepehn Gritt (Courtauld Institute). Timothy Green (Tate Gallery). Derek Pullen (Tate Gallen I. Ian Jenkins (British Museum). 1). TEACHING AND LEARNING ISSUES IN ART HISTORY (hair: Penny McCraeken (Chair oi the I diversities and Colleges Sub-Committee) 2.00 Annie Richardson (\\ inchester School of Art): Learning from Experience: Work Placements on an Art History Degree I his paper will examine die learning experiences ol both students on work placements and the tutor- who design and administer this element of the programme. It will address the following questions: Arc placements worthwhile for both students and their departments? How do students perceive, utilise and value work placements? It will also examine the role ol the receiving institution and the assessment of placements. It will consider how the evaluation of successes and problem- has contributed to the current polie\ on placements on the B.A.(Hons) History of Art degree and \^ inchester School oi Art and how course- can enhance the value of placements as learning experiences. 2.30 Biddy Peppin (University of East London): I Bridging I nil for First Year Students Critical Languages of Art History" is the title of a first year modular unit at the University of Last London. It is designed to give students in the subject areas of Fine Art. Design and \ isual Theories, who are disadvantaged by language, access to some of the specialised linguistic comentions of Art and Design History and to the academic conventions of structure and presentation used in other units. 3.00 John Hewitt (Manchester Metropolitan University): Studio Practice Options in History of Art and Design Degrees I ndergraduate and Postgraduate courses in the History of Art and Design Department at Manchester Metropolitan I niversit) include options which integrate studio work and art history as a way of understanding the process of visual production in history, through practice as well as the more traditional mean-. It has produced work of a unique kind as well as presenting the condition- for a fruitful, though at times difficult, partnership between history and studio staff. In this paper I want to look at the histors and present developments of this integration. 3.30 Howard Holland- (Middlesex Lniversitv): \rt History in Schools: Where fit Now? This session will outline some of the new developments in the light ol re\ isions to the 14-10 curriculum. The questions to be addressed will include: \\ ho is teaching art history in schools? How are they being prepared for thi> \\ bat are the art histories being taught.'' ^ hat are the are histories being learnt.-' \\ hat kinds ol relationship exist between making and critiquing in art and art history? Convener: Andrew Stephenson (I niversity of East London) Critical writing since (he 1960s has acknowledged a shift towards a performative ((inception of artistic subjectivity as well as asking how issues related to performance and the performative hare revised any understanding of the dynamics of artistic production and consumption. In broad terms, the subject of performance has engaged with those con text ua Used rituals, pageants and tableaux vivants that provide the theatricalised space within which the art work teas sited. Papers will investigate the nays in which these stagings and environments informed the spectacu­ lar nature of this encounter and provided varied viewing practices and sites for the activity of looking. They will also examine the roles that social rituals and institutional framings played in endorsing the cultural prestige of the art work and in validating certain modes of viewing. On another level, the session offers historical and theoretical reassessments of body-orientated art practices (including performance art. video and photography) that questioned formalist frame­works and challenged modernism s exclusions and phallocentrism. The sexual politics of embodi­ment and body art as part of a wider feminist enquiry, and how performance art offered a means of interrogating body codings, will also be considered. Beyond this, speakers also explore the theoretical issues that underpin the notion of 'performatii ity' in contemporary critical writing, and investigate its potential to question the operations and constraints of discourse and its effects in the artistic field. Gabriele Griffin I Leeds Metropolitan I niversit)): Mind and Matter: The Body in Women's Performance In "Aller a la Mer". a text which ha- hern highly influential in Theatre Studies, Helene Cixous proposes a particular idea oi the woman - relation to her body and the stag­ing of sell in I theatrical) space. Ihc ques­tion which this text raises are constructed by Cixous as diametrically opposed to the issue of the body in performance on screen. Considering inter alia, the work of Orlan. I shall therefore analyze the implications uf diverse performance spaces on notions of women s relation to their bodies as theorized b\ French feminist positions on the one hand and queer tin-on on the other. Reina Lewis (University of East London): 'Looking Good': The Lesbian Gaze and fashion imagery This paper is concerned with the different forms of pleasure and identification activat­ed in the consumption of dominant and subcultural print media. It discusses the forms of lesbian visual pleasures generated b) fashion editorial in the new lesbian and ga\ lifestyle magazines in contrast to those obtained through a transgressive reading of mainstream women s fashion magazines. The development of the lesbian and gay lifestyle magazines, in the context of the pink pound, produces a situation in which one could expect an erotieised lesbian visual pleasure to be the overt remit of the magazine. The apparent difficult) of staging an overtly erotieised lesbian fashion spread is discussed in relation to the social experi­ences of the magazines readership. Arguing that dress is particular!) important to les­bian and gay subcultures as a way of identi­fying oneself and others, the paper explores the relationship between textual consump­tion and the reader s own participation in lesbian \ isual spectacle. Amelia Jones (Universit) of California, Riverside): Dispersed Subjects and the Demise of the Individual': 1990s Bodies in/as Art After a decade of disinterest in the corporeal subject, the bodv has re-emerged in recent years as a central artistic concern. This paper addresses this re-emergence focusing on the work of Laura Aguilar. Maureen Connor. Orlan and others — artists who enact their bodies through technologies of representation to interrogate the unified, creativel) transcendent Cartesian subject of modernism. I argue that these artists sug­ gestiveh produce themselves through their work as embodied rather than transcenden­ tal: as multiply identified (particularized in terms of the intersecting identifications of gender, race, sexuality, nationality and class) rather than reducible to a coherent, unified 'individual . Karen Lang (California Institute of Technology, Pasadena): Kantian Performativity in Art History Tliis paper will exploit* Kant — own con­struction oi an idealized subject and the incorporation of this subject into the disci­pline of art history. The idealized Kantian subject is a self overcome; a subject sub­jected to die kind of self-master\ necessar) for disinterested, 'objective evaluation. Indeed. Kant s idealized subject resembles the connoisseur, a disembodied, non-tempo­ ral subject defined through the facult) ol judgement. 1 he inclusion of this idealized subject into the foundational matrix of the art historical discipline has validated "cer­tain forms of seeing and circumscribed the ways in which the bod} can perform in the aesthetic experience. riouna Karl>er (Manchester Metropolitan I niversity): t)e Koonings Women and the Performance of Femininity Dc Kooning S paintings of women from the L950s occup) a canonical status in histories <>f Abstract Expressionism. I his paper is an attempt to destabilise some of the dominant readings associated with these works argu­ing that the femininity the) construct is not necessarilj fixed and reductive. I intend to investigate aspects of subject matter and formal construction in relation to notions of both excess and the Grotesque as gendered categories (Russo. Kristeval with the aim of problematising issues of meaning and spec­tatorship. Ga\ in Butt (Central Saint Martin s College of Art and Design): Larry Hirers: The Greatest Homosexual? This paper considers the queer!) performa­tive construction of Larrv Rhers" artistic subjeeth it\ in the context of a largely les­bian and ga\ bohemia in New V>rk in the late 1940s and 1950s. Rivers' fascination and identification with the codes of "homo­sexualit) . from the effeminate deportment of the male IMHK to the protocols of a ga\ male vernacular, will be viewed as eharac­teristic of the "hipster" or 'beatnik* who was fast becoming the paradigmatic bohemian type of the 1950s. My anabsis will concen­trate upon a reading of selected paintings by Rivers alongside the poetry of Frank O'Hara in order to foreground their "camp-ness" and to consider how the) might be seen to chal­lenge dominant constructions of artistic sub­jectivity and meaning in 1950s art. Philip Ursprung (Swiss Federal Institute. Zurich): 'Catholic Tastes*: Hurting and Healing the Body in Menne.se Actionism in the 1960s The actions of Hermann Nitsch, Giinter Brus. Otto Miihl and Rudolf Schwarzkogler in earlv L960s \ ienna figure among the most spectac­ular events in recent art history. Few other movements have generated such a polarized reception and nowhere else ha- such a dras­tic and literal iconography of the bod) s vio­lation and repair developed. Were these arli>l>' references to the body and their sym­bolic (rather than indexical) use ol the body, an expression of a reactionary altitude in part motivated b) frustration in a quick-moving art world? Or was it rather the revelation of subversive, anarchic action perse? Since the Actionists1 ideolog) refuses ea>\ categorisa­tion w ithin "Modernism or 'Postmodernism . I would like to suggest that Actionism's histo­ry demands a separate category: a?- an 'anti-Modernism which has it> roots in the late 19th century German-speaking art world. From this perspective, the Actionists can In-seen as proposing a fundamentally different 'European' use of the body in art; one corre­lated towards a different understanding ol 'modernity' and opposed to the dominant American models of the 1960s. Brandon la\ lor (I niversity of Southampton): Walking a Line in England Certain themes stand out in early conceptu­al art in Britain and elsewhere. Apparent!) marginal behaviour governed l>\ rules and repetition serve as structural features ol a group of artists who negotiated a melding of absurdist ritual with emancipator) re-working of the relations between artist, institution and viewer. Ludic and pastoral elements are- examined in the earl) work of Flanagan. Arnatt and Long. Joanna Lowrv I Kent Institute of Art and Design!: Performing I ision in (he Theatre of the daze: the Work of Douglas Gordon I hi- paper considers the wa\ in which the visual is staged in the video installations of Douglas Gordon. The three works consid­ered each re-enact in a fetishistic. obsessive way scenes that represent a conjuncture of sexual knowledge and a violent production of that knowledge. The question that is posed by the installation is the deictic invocation of the spectator as an embodied subject in relation to that traumatic staging of vision. Gordon's work suggests wavs in which a performative concept of vision might enable us to rethink the relationship l>etween the viewer and the visual apparatus in video installation art. Peter Home (University of Fast London): I ops. Favourites and Faggots: Homosociality and Homosexuality in Representations of Edward II In mid- 19th century England, the story of Edward the Second and his favourite Gaveston was frequently told in popular his­tories ol tlie British monarchy which, though euphemistic, countenanced desire between men. The paper argues that these narratives were drawn upon b\ Marcus Stone lor a his­toid jtainting that displayed a homo-eroti­cism which could be disavowed. I he paper considers the wa) the reception ol this work changed as emergent sexological notions, public scandal and attention to Christopher Marlowe's play gave a public form to the homosexual body in the later 19th cenlun. Michael Halt (Birkbeck College): We Will Burn Him': Hare. Ritual and Responsibility in the \eir South The lynching was a modern cultural form that provided a means of reinstating ante­ bellum Southern identity ami its notions ol honour, and of recreating its racial econo­ my. In this [taper. 1 shall offer an account of Knehing in the American South in the 1890s as a ritualised public event that enabled a racial hierarchy to be reinstated, free from the demands of argument and reason required by political, juridical and cultural debates in the North. At the same time. I >hall challenge recent theories of the performative that have disputed the primacy of agency and will. I -hall argue that onl\ a view of performativity underpinned b) intentional moral choice i> philosophically and ethically tenable. Melissa McQuillan I Wimbledon School of Art. London): Pablo ^oes to the Hall: Performance^ Play and Diversion in the Early f'J'JOs In post-war Paris two traditions of mas­ querading con\erged. % bile the comte de Beaumont embellished his legendary costume balls with the talents of Picasso, Laurenein. Satie. Cocteau and Massine. at artists" masquerades a earnivalesque spirit ensured their attraction as chic spectacles. These hols costumes intersected with other cultural practices. They inflected the field of staged spectacle and performance, and their photographic records display affinities with a spectrum of documentary and imaginarv images. They lx»th enabled an enactment of fantasies of the mppel a lordre and implemented a destabilisation of the visual signs of identity. Conveners: Steven Adams (I 'niversity of Hertfordshire) Anna Robins (I hiversity of Heading) This session examines issues around landscape and gender in visual culture. It explores ways in which both the representation and the consumption of real and imagined spaces hare taken on a gendered inflexion in western and non-western cultures, and aims to provide an interdisciplinary platform for art, architectural and cultural historians. Particular areas of interest include the gendering of modernist discourses around landscape painting - how. for example, the representation of the countryside was cast as an essentially nude activity while landscape imagery might be gendered as feminine. The representation of the city and the suburb, and the ways in which these spaces were articulated through gendered discourses, will be a further concern. The production and consumption of land­scape imagery in the popular culture of the J 9th and 20th centuries will also be explored, as well as the ways in which romantic and realist iconography could create imaginary realms for women. Julie King (University of Canterbury. Christchurch, New Zealand): Marianne \orth in New Zealand: the Intersection of Femininity, Science and Art in the Colonial Landscape % hile painting the colonial landscape was largeU a masculine enterprise, the conjunc­tion of art with science, exploration and industry that stimulated the production of landscape images in view-books, popular illustration and for display at international exhibitions, provided the Victorian artist. Marianne North, with a receptive context for her images — albeit painting of a discrete feminine category. This paper examines how North's representation of native plants set within the New Zealand landscape repre­sents a gendered as a well as a colonizing response to the landscape, and considers how women artists" experience of place in the colonial world was frequently mediated through flower painting. Denise Oleksijczuk (University of British Columbia): Subjectivity and the Doubling of Space in the Panorama In heterotopic sites a 'doubling* of space is produced by two kinds of viewers — one authorized, the other a visitor — who look at the same thing but construe two different objects. In the case of the panorama at the turn of the 19th century, however. I intend to problematize contemporary descriptions of viewing practices which use gender difference as the basis on which to account for double vision. My paper argues that texts feminizing delusionary states of apprehension within the panorama not only represented female subjectivity as the loss of a sense of self, but were also a means of compensation for the (mostly male) writers who feared the exhilaration and anxiety that attended the rise of the autono­mous subject. Nina Liibbren (Anglia Polytechnic UniversiU ): Beyond the Gaze: Landscapes of Immersion Current theories of representation tend to figure the gaze as masterful and distanced from its object. This is the gaze of the male panorama painter, surveying the (feminine) landscape. However, L9th century artists increasingly rejected the panoramatic gaze in favour of a mode of painting and experi­encing nature that suggested the surrender oi \ isual mastery in favour of a merging with nature. By giving up the controlling gaze, male painters of the sous-bois (forest interior) were '"feminising" their own subjec­tivity. This paper closes with an analysis of the works of Ottilie Revlaender. a painter of the sous-bois which problematized tlie conflation of femininity and landscape. Ste\ en Adams i I niversity of Hertfordshi i e j: 'Cros garctms': Modernism and the Construction of Masculinity in 19th-Century French Landscape Painting Although recent attempts have been made to locate 19th-century French landscape painting within the broad fabric of 19th cen­tury bourgeois culture, a wide spectrum of commentary from Salon reviews to romantic novels and serialised short-stories insisted upon the essential autonomy of the practice nt the landscape painter and grounded that autonomy within a carefullv formulated notion of masculinitv. Looking at the work of painters who were later earmarked as "founders of the modern French school" — Rousseau. Millet. Daubigny. Diaz de la Pena and others — this paper explores the diverse ways in which concepts of childhood, inno­cence and masculinity were bracketed by mid century writers both as essential qualifications for good painting and mem­ bership of the early avant-garde. layered relationship between landscape and Paul Smith (University of Bristol): Blurring fltr Line: Impressionism, Gender and Landscape. This paper explores the possibility that some Impressionist landscapes express an ambiguously gendered or 'blurred", identification with the landscape. Working from the premises that the psychic process­es of projection and introjection are involved in correspondance, or the expres­sive perception of nature, and that expres­sive projection involves seeing a metaphori­cal, bodily aspect to 'nature1, the paper seeks to examine how landscape bv the male impressionists may sometime express a "feminine' or un-gendered ways of seeing, incompatible with the notion of the artist as the subjugator of the "natural", "female" world. Jillian Cassidv (University of Canterbury, Christchurch New-Zealand): Landscape Fragments: Dame Eileen Mayo in Australia and New Zealand This paper considers the ways in which Eileen Mayo's distinctively graphic style brought out a sense of time and location in the land: how in her intimate glimpses of nature, she set limits to the landscape while at the same time acknowledging the greater order underlying it. he it the wild places England, the desolate landscape of Australia, or areas oi lush New Zealand bushland. The paper goes on to examine whether or not her particular responses can be related to cultural concerns, aesthetic sensibility, or the specificity oi gender. Sighle Bhreathnach-Lynch (University College Dublin!: Landscape. Space and Gender: Their Hale in the Construction of Female Identity in Xewly- Independent Ireland. This paper explores issues of gender, space and landscape which intersect with the con­struction a new Irish post-colonial identity. In the decades following political indepen­dence in 1922 the image of Ireland and the Irish projected by successive governments was that of the rural countryside, peopled exclusively by a Gaelic-speaking. Catholic people. In the visual arts, these ideological concepts were sustained by numerous paint­ings of the Vtest of Ireland, now promoted as the 'real* Ireland. Many of them included women, dressed in peasant costume thereby anchoring the Irish female to nature and to the landscape. This paper studies a range of such representations, examining their meaning in terms of both national and gen­der identity as well as looking at the multi- the feminine in these visualised realms. The manner in which religious sculpture came to occupy a politically gendered as well as spiritually significant space in the actual landscape itsell is also analysed. David Peters Corbett (University of \ork): Landscape. Interior Space and Modernity in English Art after the First World War This paper examines the gendered revisiting in the 1920s by Edward Wadsworth and C. R. \\. Nevinson of the themes and tech­niques of modernism practised before 1914. I consider their post-war work as a revision­ist but nostalgic commentary on Yorticisms more direct engagement with modernity. This commentary is implicated with a revi­sion of the overt masculinism of Vorticist identity — now reformulated to sustain a newly pessimistic view of the landscapes and morphology of industrial England. The result is a gendering of the landscape that embodies a series of shifting homolo­gies between particular sites, overt and embattled masculinities, and post war cultural politics. Pat Simpson (I niversitv of Hertfordshire): Soviet Superwoman in the Landscape of Liberty: Aleksander Deineka's Razdol'e, 1944 In this paper I explore some of the complex and contradictory significations of the imagerv - sportswomen running through the Soviet countryside - in Aleksander Deineka's painting RazdoVe 1911. In Russian 'razdolV conveys spatial expanse and liberty. How is this linguistic game played out through the imagery in the context of Soviet cultural and political discourse in 1944/ I will suggest that the play of signification lie- within parameters created bv the intersection oi mvthologising patriarchal discourses on the representation of women in Socialist Realist Art. on women's gender role as defined by the state, and on the landscape as signifier of "motherland" in contemporary anti-fascist propaganda. Caroline Jones (Boston University): Robert Smithson find the Technological Sublime Stung by descriptions of Earthworks as aggressive, Robert Smithson complained in 1973 about his opponents' 'Ecological Oedipus Complex* in which "penetration of'Mother Earth" (is taboo as) incest...' Rather than critique the gender assumptions behind their attack, the artist responded in equally loaded terms: 'sex isn't all a series of rapes'. Seen as an important engineer of the 'post modern turn', Smithson is justly celebrated for the complex dialectic found in his work. Eew, however, have parsed the gendered nature of that dialectic: crystalline versus organic, dry versus wet, technological versus 'natural*, bounded versus oceanic. This paper explores the complexities of Smithson1 s dialectical relationship to the land, which find their synthesis in his mag­isterial Spiral Jetty and its enactment of the technological Sublime. 1 read the sublime from Longinus to Lvotard, as offering the ultimate aesthetic resolution of the interac­tion between 'man* and the landscape as it is gendered in discourse. Anna Robins (I niversity of Readings 4 ^ Richard Long: (jrffural Explorer. The subject of this paper is the artistic project and practice of Richard Long. It argues that Long follows the career trajectory of a latter-day \ ictorian explorer with echoes of the colonial impulse. This is reflected in his encounters around the globe in India, Canada and South America, and in his identification with Somerset and Avon, his home county. It examines the gender basis of Long's project within the tradition of the odyssey of the male explorer pursuing virgin nature. It looks at aspects of his dropping and marking, the repetition-compulsion that drives Long's project. Further, it examines the support of Long bv the British Council and other bodies, and the publication of approved critical texts that reinforce these gender biases and assumptions. Conveners: Shulamith Mehr (Courtauld Institute of Art) Joan Weinstein (The Getty Grant Program) From the reign ofWilhelm I through the years of the Third Reich, the historical discontinuities of German history highlight the problems of adopting generalised models of social and cultural development. Papers are invited that address the narratives of patronage operative in the art world during this period, particularly as they relate to the search for 'national identity. Topics mil include the interplay between public and private patronage and collecting: the role of marginal groups, including women, in promoting artistic practice: and the discursive formation of the modern patron in the press. It is hoped that some contributors will bring theoretical issues to bear on particular exhibitions, publications, institutions, curatorial practices, dealerships or examples of dilettantism as they relate to the larger issues of patronage in Germany. Margaret E. Menninger (Minda de Gunzburg Center for European Studies. Harvard I diversity): Public Patronage with Private Funds: Leipzig's Grassi-Museum, 1880-1900 Franz Dominic Grassi was a local business man trading in Russian goods, indigo and tropical fruits. Upon his death in 1880. he left the hulk of his estate to the city of Lei­pzig for 'improvement and beautification . The city applied the funds to expansion of its cultural resources; half ol the bequest went to the construction of the Grassi- Wuseum which housed the museums of applied arts and ethnology. 1 he paper explores the "making" oi this museum as a means oi revealing the structure and context of "high" culture patronage in German cities. I his i - characterised as the civic sphere. encapsulating that "middle time" when the cultural aspects of the public sphere were drawn into a more state - and especially more municipally-organised structure, mark­ ing an evolution from "private bourgeois associations to cultural institutions. This model also shows how the arts acquired rep­ resentative status in defining the cit) both for outsiders and for the citizens themselves. 1 lelen Shiner (University of Central England): I Temple to the Lebensreform Movement? Karl Ernst Oatha us ami the Gropius-Meyer Model Factory­ 1914 This paper explores the role of the patron and museum director. Karl Ernst Osthaus. in the promotion of art within industrial design. Little has been made of the decorative schemes within the Gropius-Meyer Model Factory exhibited at the We rk bund Exhibit­ion in 1911. some of which were threatened by the row about nudit) that coloured the reception of the exhition. The iconography of the dance utilised by the Russian Jewish sculptor. Moissey Kogan. will be considered in relation to Osthaus" promotion of Korper­kultur and associated aspects of Lebens­reform. The evident discontinuity between avant-garde artistic practices and the complexity of political allegiances of those imohed will be examined in relation to the building and its integral decorative schemes. Nicola Lam bourne (Courtauld Institute): Patronage ami Pillage: The World War One Bergungsmuseen During the First World War. work- of art from public and private collections in occupied France were removed b\ the German armv and rehoused in temporal") "Bergungsmuseen' (literally rescue muse­ums), ostensibly for safe-keeping. Presented as e\ idenee of the German love ol and knowledge of art. these were regarded b\ the French as proof of institutionalised German pillage. The "true" motivation for their estab­lishment is obscure, as the contemporary documentation is of a propagandist nature conducted b) French and German art histori­an-. Rival characterisations oi the relation­ship between die Germans and art were offered: while the Bergungsmuseen empha­sised their skills as curators, collectors and art historians, the 'Exposition d oeuvres d art mutilees". held at the Petil Palais in Paris in 1916-17, portrayed them as the destroyers and enemies of art. Sherwin Simmons I L niversitv of Oregon): Expressionism in the Discourse of fashion The paper keys off a fashion show which took place in Bern in September 1917 and was organised by Otto Haas-Heye for the German Werkbund. It argues that fashion played an important role in expanding the market for Expressionism during the war ami linked the style to national economic inter­ests. I his development contrasts significant-lv with the treatment of fashion in early expressionist discourse where it was figured as a lopos of mass culture "lacking in Geist". The paper tracks this change through the pages of Elegante Melt. Die Dame. Der Sturm. Die Aktion. Zeit-Echo. and Wielandx the promotional activities of Otto Haas-Heye and Irene Eucken: and the artworks of August Macke. Ernst Ludwig Kirchner and Annie Offterdinger. Kathrin Hoffmann-Curtius (Tubingen): The Discursive Structures of Images of Frauenmord Towards the end of the \\ ilhelmine era. numerous representations of murdered women appeared in the visual arts of the avant-garde. Unlike the most recent account that aesthetically condemns them on the basis of the links with pornography (Maria Tatar), this paper will study the Lustnwrd images of Georg Crosz. as well as those In Dix and Wollheim. in terms of their collee­tability. the First World War context and the artists1 confrontation with the media culture of the period. It will explore the interrela­ tion between the image of the German "soldatische Mann" (Theweleit), his menda­cious metaphor "Im Felde unbesiegt', and the dismembering or dissolving female body featured in the works of male artists at the time. Malcolm Gee (University of Northumbria): The Art Business' in fieri in c. l<)lh-l<)24 In 1923 the critic Paul Wcsthcim castigated the modern art scene as 'Kunstbetrieb* in which the essential spiritual qualities of art were subordinated to promotion and profit. As editor of the journal Das kunstblutt. Westheim was in fact a part of this "bu>i­nes- and his criticism was a fairly standard strategy for asserting one's own purity in relation to an expanding commercial system. The conditions of the post-war vears, com­bining the triumph in adversity of progres­sive forces in German societ\ with general instability and growing inflation, were reflected on the art market by a fragile boom which at first >cemed to favour the produc­ers and promoters of German modernist art. Thi> paper aim> to establish the principal structural features of the Berlin art market 1918-1924. to identify the range of interests and ideological positions represented within it and to assess the impact of economic and political developments on patrons of con­temporary art in Berlin. Brenda Danilow itz (The Josel and Anni Albers Foundation, Orange. Connecticut): Josef Albers ami Patrons 1916-1925: In-and-Outside the Bauhaus Between 1920 and 1928. Josef Albers designed four large scale stained-glass windows for architectural projects: the Sommerfehl House 1920-1. the residence of Dr. Fritz Otte in Berlin 1923. the Grassi-Museum in Leipzig 192.1 and the Lllstein \erlag 1928. All of these works, document­ed in black and white photographs, were subsequently destroyed. Though these commissions were closely related to Albers* work at the Bauhaus. the circumstances of each were unique. The paper will briefly look at Albers' early encounter with stained gla>> construction through his association with Jan Thorn Prikker in Essen in 1916-17 ami his commission for a stained gla>> window in the church of St Michael in his home town of Bottrop. It will pay particular attention to the politics of patronage at the Bauhaus and the role of the public versus private patrons in anahsing the known histories of the 1920-8 commissions. Marsha Meskimmon (Staffordshire 1. ni\ ersit\ ): The Third Sex? Politics and Patronage of Lesbian Imagery in the Weimar Hepubiic During the course of the Weimar Kepublic. i--ue> concerning gender roles and sexual identity were debated fiercely within many different contexts. Scientific and medical theories were developed alongside sociologi­cal, political and representational models of both gender and sexual "norms and devia­tions. The 'Third Sex' was a common trope for the "androgyne as well as having homo­sexual overtones in the period, yet, in a popularised form, could be linked to notions of the "New Woman in certain key, critical ways. Such fascinating categorical slippages are typical of Weimar debates on gender and sexualit) and this paper explores the theme of 'lesbian love through an examination of a series of twelve two-tone lithographs by Jeanne Mam men illustrating Pierre Louys's 'Songs of Bilitis". commissioned b) the Galerie Gurlitt in Berlin 1930. Ann Stieglitz ( I niversity of Tubingen): Tobacco Road: a Vale of'High* and 'Low' in Germany, 1927-1947 After the momentous exhibition of Griinewald's henheim \ltar in Munich in 1919. research into the artist's identity and work began in earnest, culminating in a monograph 1>\ W. K. Ziilch. published by the Munich firm Bruckmann. with photographs bv llanfstaengl. on 20 \pril 1938 - Hitler's birthday. The publication was made possible by the sponsorship of a tobacco firm Reemtsma which, by then, had control of all tobacco factories in Germany. The firm introduced "Cigaretten-bilder" which consumers were encouraged to stick into books and these played an important function in disseminating ideas of cultural identity. In one major "history*. Griinewald is posited as the apotheosis of 'German­ness\ This paper traces how the relation­ship between "high" and "low* culture was made possible through the tobacco industry, and reveals how Reemtsma's exploitation of Hitler's conquests enabled him to forge a 'tobacco road* into Eastern Europe. Ines Schlenker (Courtauld Institute): Transformations in Patronage: the Grosse Deutsche Kunstausstellungen 1937-1944 The annual Grosse Deutsche Kunst­ausstellung that took place at the Haus dcr Deutschen Kunst in Munich from 1937 until 1944 was intended to present a cross-section of the entire artistic production of National Socialist Germany. Huge efforts were undertaken to make the exhibition pos­sible, the most effective being the patronage of the NS establishment. This paper >cek> to explore the role Adolf Hitler and other members of the Nazi elite played in the manipulation of subject-matter, style and the choice of artists. Using the surviving sales records, programmatic statements, contem­porary newspaper coverage, commissions and awards, the paper will investigate the patterns of patronage and their trans­formation in light of the impact of the war years. Peter Vergo ( I niversity of Essex): 'Monuments to Horror'. Memorialising the Concentration Camps: the Function and Significance of the Memorial Site at Dachau This paper examines some of the issues raised by the preservation and display of what have been termed "negative spaces', namel) those physical remains of the past which afford evidence, not of heroic person­al or national achievement, not of individual artistic or intellectual accomplishment, but of human cruelly, suffering and deprivation. It will touch on aspects of the current debate concerning the memorialisation. and the destruction, of the sites of the for­mer concentration camps in Nazi Germany and elsewhere: and will focus by way of a particular case study on the various, in some ways conflicting functions ascribed at one time or another to the site at Dachau: museum, monument, memorial or place of worship. Plenary discussion chaired by Joan Weinstein This session will take place in the British Library, in (lie Seminar room off the Kiii-- library onreners: John Lowden ((our I mild Institute of Art) Scot McKendrick (British Library) This session will focus on the illuminated manuscript book primarily as a physical object, with special emphasis on its manufacture and use. It will examine manuscripts of varied types from many periods and sources, exploring the making of manuscripts from a wide variety of perspectives. Issues relating to the scientific examination of manuscripts, an area which is just beginning to be explored, will also be covered. New technology for such examination will bp demonstrated and discussed. The session will take place in the seminar room of the British Library, and manuscripts relevant to the papers will be on display to participants. There will be considerable time available for the discussion of papers and for the pooling of ideas and expertise. Tony Parker (Consen at ion I department, British Library): Equipment for the Technical Examination of Illuminated Manuscripts in the British Library The Reading Rooms and the Conservation Department oi the British Library are able to provide a range of equipment and tech­niques that can he applied to the study oi illuminated manuscripts. The equipment includes the Video Spectral Comparator, microscopes, fibre optic lights, visualtek, and close circuit television camera systems. Other equipment for the identification of pigments and inks will also he discussed. Imaginative use oi existing equipment is often aide to resolve questions ahout the sequence oi writing or painting, or to permit the viewing of underdrawing. But a positive result cannot be guaranteed. Vndreas Petzold (Records Section. Victoria & Albert Museum): The Question of Colour in the Study of Illuminated Romanesque Manuscripts The question of colour in the study of illuminated manuscripts is too often ignored. This paper looks at certain aspects of the question with a focus on the Romanesque period. Particular attention is paid to modern methods of describing and identifying colours, focusing on recent research on the Bun Bible and Dover Bible using false colour infra-red photography. The nature of medieval technical treatises, notabl) those in the British Library, as working documents is also investigated. And the question of the semiotie and icono­graphic interpretation of the use of colour, emphasizing an interdisciplinary approach, is considered. Patricia Stirnemann (Departement des rnanuscrits, Bibliotheque Nationale. Paris): The Recipient of the Copenhagen Psalter A range oi evidence is brought forward in this paper to suggest that the well-known illuminated Copenhagen Psalter was made for presentation to Canute \ I . heir-apparent to the Danish throne, on his coronation in 1170. The artist of the sister manuscript, the York Psalter, is shown to have been working at the abbey of Saint \ ictor in Paris around 1160. and there is a further link via the Danish Archbishop Eskil, exiled in France between 1161 and 1168. Internal evidence of the Copenhagen Psalter's production and content- such as the Augustinian liturgical emphasis! are explained in light of its destination. John Lowden (Courtauld Institute of Art): Making a Pair of Bibles Mora Usees in Paris in the ISth-Century Manuscripts of the type known a- Bibles moralisees contain by far the most extensive cycle of illustrations devised in the Middle Ages. Their production raised remarkable difficulties, which in turn suggested unusual solutions. The images in the four-volume Bible moralisees now divided between the Bodleian Library, Bibliotheque Nationale. and British Library, were produced by tracing over a workshop model that was also used to produce most of the gatherings of the three-volume Bible moralisee in Ioledo Cathedral. Careful examination of the books shows how this was done. W hv it was done is an intriguing question to which the manuscripts can also suppK an answer. Rowan Watson (National Art l.ibran. \ icloria tx Albert Museum): 1 Mercifully I nfinished Treasure: llarreteau's Hook of Hours The Victoria & Albert Museum recently acquired a Book of Hours made in the West of France in the 1480s. and owned in the 16th century by "Harreteau*. Only one of its miniatures and several of its borders ate fully finished; the others are merel) sketched in. Close investigation of the various lavers of finish allow conclusions to be drawn about the production process, The variet\ of stvles suggests that more than one family unit was involved in the book's manufacture. Harreteau's Hours contributes to recent discussion of the nature of manuscript book production in the Late Middle Ages, and the possible role of major artists. Mark L Evans (National Museum and Gallery of Wales. Cardiff): Making. Mutilating. Completing, Dismantling, and Reconstructing a Renaissance Illuminated Manuscript: The Sforza Hook of Hours The Sforza Hours was begun in Milan in the late 15th century, but a substantial number of its unbound gatherings were stolen from the workshop. Its text and decoration were completed in the Netherlands in 1517-21. Following its rediscover) in the 19th century it was unbound, its bifolia split and tipped into four volumes. Since the replacement bifolia are distinguishable from the earlier leaves, however, dispersed gatherings can be identified, and the original collation reconstructed. This sheds light both on the attribution of hands m the original work, and the problems faced by the scribe and illuminator subsequently commissioned to complete the manuscript. (on raters: Lucy IVllz (I nivvrsity of Manchester) Martin Myrone (Courtauld Institute of irt) Antiquarianism was a popular and increasingly widespread activity throughout the early modem period. Although it encompassed a heterogeneous and shifting set of practices and discourses for dealing with the past, it has long been considered marginal by cultural historians. The session starts from the belief that it had a significant role in shaping modern culture and social relations. By considering its diverse visual and literary products and their impact upon both public and private spheres, the session will reassess the importance of antiquarianism and evaluate its socio-political implications. It is hoped that some of the following questions will be addressed. Who were antiquarians, and why'.-' Hon did antiquarianism package the past? Is there a specific antiquarian aesthetic'." How did market forces and entrepreneurs shape the antiquarian project? What relationship did antiquarian texts have with 'high' art." Did antiquari­anism lay the foundations for modern art history and museum culture'.-' Sam Smiles (University of Plymouth): British Antiquity and Antiquarian illustration This paper examines the epistemological status of antiquarian illustration in late 18th and early 19th-centur\ Rutland. As visual codifications of knowledge illustrations stand in a peculiar relation to the subject they are presumed to enhance; by condens­ing discursive treatments of the remote past into iconic formulations the) move from a supplementary role to a more complex status as hearers of meaning in their own right. Samuel Rush Mevriek and (diaries Hamilton Smith - Costumes of the Ancient Inhabitants of the British Islands I 181."S} epitomises these issues with its illustrations. I his paper will consider these antiquarian illustrations in light of the work of Barthes (the reality effect). Derrida (on supplemen­tal^ I as well as the issues of iconicity and the semantic field. Heather MacLennan (Cheltenham & Gloucester College of Higher Education): Antiquarian and Connoisseuriai Interest in the Xorthern Renaissance Print in the early llHh century This case study draws upon the unpublished correspondence, notebooks, and print collections of two antiquarian print collec­tors. Douce (1757-1834) and kerrich (1748-1828). I discuss early 19th-century antiquarian print culture and connoisseur­ship of collectors unhampered by classical taste in their regard for eark northern Renaissance prints, otherwise marginalised in 'high* aesthetic accounts. I reconstruct the 'conversations' held by antiquarian print enthusiasts about questions of authorship, technique and print history. I propose that antiquarians were in a special position to uncover the history of the autograph print which was outside fine art discourse. Maria Grazia l.olla (Wesleyan L niversit) I: 'Ceci nest pas an monument' This paper seeks to locate the publication of monuments in the context of 18th and early 19th-centur\ theories of art and poet­ry. Drawing of a wide range of examples it will argue that despite antiquaries' oft-proclaimed intention to preserve antiquities, antiquarian illustrations were produced as artistic objects. This was the case not only in the work of Piranesi but also in the engravings produced under the auspices ol the London Societ) of Antiquaries. Artistic concerns were evident in the profusion of decorations, in the creation ol "composi­ tions' of antiquities, or in their link- with the development of Romantic aesthetics. David Alexander (York): Trumpeting the Findings: Antiquarians find Printmakers At the end of the 18th century the costs and difficulties of cmplo\ ing professional engravers encouraged a number oJ English antiquarians to turn to print making them­selves. They included university men such as Daniel Lysons. architectural draughtsmen such as John Buckler and self-taught provincials such as Joseph Halfpenny and William Fowler. This talk diseusse- their different experiences, and examines their introductions to print making, working practices, and the aesthetics of the work, as well as the relationship of text and illus­tration in their publications and their links with learned bodies and the commercial print trade. Lucy Peltz (Manchester University): The Extra-illustration of London: The published texts with diverse illustrations as one ol the products of antiquarian leisure. It explores the development of extra-illustra­tion in relation to the gendered spaces and practices associated with antiquarianism. By considering legitimate and satiric repre­sentations it argues that the interests and homosociability of the antiquarian in the public sphere were increasingl) problema­tized. Consequently, there was a widespread withdrawal from the Society of Antiquaries to the domestic sphere. By focusing on the extra-illustration of Richard Bull and his daughter. Elizabeth, it will argue that it was in the feminized ethos of the home, and a- a consumer of commodities, that the antiquarian could safel) pursue a heterogenous set oi practices and perform the civic duties of a modern man. Annagret IVlz 1 1 ni\ ersital de Paderborn): The Desk: Excavation Site paper will explain the antiquarian interest in long, engraved town views, and demonstrate the influence that the Society and its Fellows had on the choice of towns that were drawn, engraved, and published. The new market had a positive effect on the utilitarian stvle of town view which developed in this period, a style which was adopted by non-antiquarian artists such as Thomas Sandby. Special attention will be given to the careers of Samuel and Nathaniel Buck. .... David Haycock (Birkbeck College): William Stukeley. Avebury \ /,. rK ami Stonekenge This paper discusses the wavs in which the antiquarian Dr. William Stukelev (1687-1765) pictured and wrote about the prehistoric stone circles at Stonehenge and Ave bun' in Wiltshire. It is suggested that in the way he structured the texts and prints of his books, and in his interpretation of the Avebury site as "a picture,' he was influenced l>\ contemporary ideas oi landscape gardens, prospects and circuit walks. This is seen both in his description of the sites, his reflections upon their awe inspiring qualities, and in his interpretation of them as temples that ma\ be read in both their individual parts and within their broader Landscape. Bv placing his inter­ pretations of Avebury and Stonehenge within their visual context, it is possible to draw conclusions about both his theoretical interpretation of these antiquities, and contemporary ideas of landscape design. •<&^'f&$®~-'­ Stephen Bending (Leeds Umversit) I: The True Rust of (he Barons' Wars: Gardens, Ruins, and the National I . andscape / :L , Q>/^ tf« c, — ., v Antiquarianism came under increasing r-\ pressure during the 18th century, marginal-^" ized bv alternative cultures, and character-/ but prototypical Teutonic past and national identity. Caspar David Friedrich's artistic production operated within an intellectual context marked by a set of German Anglophile thinkers, among them the pastors Theobul Kosegarten (1758-1818) and his son Ludwig Gotthard. German anti­quarians were also influenced by the English antiquarian William Gilpin. His Observations on Western Parts of England contained a description of the Isle of Wight which offered obvious parallels to Kose­garten and Friedrich's beloved island of Rugen. This paper will explore how Friedrich's choice of historical and scenic sites as a subject and his obsession with topographical accurac\ suggests his awareness of Gilpin's writing and catalogu­ing procedures. Alexandrina Buchanan (University of York): Science and Sensibility: Architectural Antiquarianism in the Early /9th Century Historians of the modern discipline of architectural history have identified a key to its emergence in the adoption of a scientific methodology bv its early 19th-centurj practitioners. They have thus marginalised antiquarianism, denning it as the 'other' in opposition to which such modern disciplines as historv. architectural history and archae­ology have been characterised. But does this WiUh model really fit i Arguing that the concept ized as the amateur and unsystematic stud­ ' ies of a leisured elite. Outside antiquarian circles, agricultural writing, guidebook-, and polite essavs offer accounts of the his­torical landscape which reject antiquarian­ism as abstruse rambling. But antiquarians constructed some of the most influential histories of the nation: the conception of a gothic past. \lfred's constitution, and England's hard-won liberties. In the English landscape garden antiquarian reconstruc­tions engage with populist sightseeing: fake ruins proffer images of the national past, to be consumed as objects of pleasure and as comforting reassurance> ot national greatness. But here the problematic nature of an authentic past and a shared present comes to the fore. Focusing on accounts of the landscape, this paper will explore the complex relationships between anti­ quarianism. authenticity and a socio-aes­ thetic engagement with the national past. johann JK Reusch iBaruch College, CUNY): The influence of English Vntiquarianism on Caspar David /riedrich's Artistic Production During the late 18th and earlv 19th cen­ turies the English Antiquarian movement sparked great interest among German intellectuals, who turned their attention toward discovering an often nebulous ot 'scientificiry is itself problematic. I shall draw on writings by practitioners of science and of architectural antiquarianism in order re-examine their relationship. My paper will concentrate on British studies of medieval buildings and will discuss such writers a? James Hall. Thomas Rickman. Thomas Kerrich and William YX hewell. >u-an A ('rani' it niversit) of \rizona): Sforw History and the Passionate Collector The figure of the antiquarian, as Arnaldo Momigliano illustrated, became a figure of ridicule from the 19th century onward. Writers such as Sir Waller Scott caricatured the older tvpe of historical collector as out-moded. in an era when the passions of historical collecting had shifted from person­al, idiosyncratic and elite to nationalist, collective and representative. This transition can be described as a shift from stories to histories, from fragments to totalities, from cabinets to museums. The displacement of the antiquarian and the attendant burial of the personalized expression of historical consciousness came to characterize the museum and historiography. The antiquarian thus represents a pivotal figure, both as actor and artefact, in the story of the shifting desires for history in modern Europe. Conveners: Simon Sadler (Often I niversity) Jonathan Hughes (Courtauld Institute of Art) Should architecture obey, deny or subvert the logic of planning? The question has persistently underwritten architectural theory, practice and polemics throughout the 20th century. The power of the 'rational' modernist plan, for example, considered by some to be the guarantor of freedom and progress, soon became regarded by its critics as a tyranny shaping everything from domestic space to the city, and from matters of taste to the conduct of life itself This session examines a range of projects and critiques that hare sought to transgress the limits of architectural rationality and permanence, and to challenge the profession's entrenched mod­ernist structures and practices. Furthermore, it will ask where the limits of architectural liberty lie. and whether indeed their continued survival is either desirable or inevitable. Cedric Price (architect, London): Nan Plan/A True Mirror of Social ippetites? The proposal of Non-Plan to remove the majority of physical planning restrictions, particularly aesthetic control, is seen as no more than matching the rate of change of most of the other forms of artifactual endeavour. Such re-balancing enables free­dom of choice to become a public right with all of its concomitant risks and opportuni­ties. This exercise in constructive doubt (or calculated uncertainty) is deemed preferable to imposed codes derived from standards which are not so much elitist, as of no realistic pedigree at all. The latter are increasing!) divorced from the true archi­ tectural form of societal change. In planning terms such imposed standards, e.g. land use, are even more capable of producing large scale aberrations: for example, subsi­ dising agriculture or the centrality of exist­ ing urban conurbations, and maintaining the natural coastline all constitute an adverse interference or reactionary distortion. Trial finite zones were proposed for initial on-site testing, primarily to observe the boundary areas so formed. Simon Sadler (Open University): Experiments in Freedom ith the ink on the Town and Country Planning Act of 1947 barely dry. demands for new freedoms from architectural ortho­dox) and from the constrictions of planning became steadily more vocal in Britain. By the 1960s the Archigram Group was a focal point for half-Futurist. half-Hippie disaffection: the Milton Keynes planners were preparing the Buckinghamshire countryside as a tabula rasa organised onlv by a wavy grid: and progressive thinkers from architecture and urban studies were rallying to the cause of 'Non-Plan . This paper begins to piece together the ideologies and inspirations motivating the new 'experiments in freedom'. Benjamin Franks (University of Nottingham): New Left, New Right The original Non-Plan proposal of 1969 appeared in the liberal-left New Society (now part of the New Statesman magazine) at a time when radical anarchic thinking, characterised as "New Left", was greatlv in vogue. In this paper the ideas, presupposi­tions and ambitions of the Non-Plan propo­nents are contrasted with other varients of spontaneist architecture, in particular those emanating from contemporary British anarchist traditions. For. as will be shown, the main ideas and presuppositions of the Non-Planners bear more in common with the theories ol the New Right. especialU those of Pried rich llavek. than those of the New Left milieu from which they appeared. Eleonore Kofman I Nottingham Trent University) and Elizabeth Lebas l l niversity of Middlesex): Le (ybernatrope': Art and Technology* in the Writings of Henri Lefebvre As Henri Lefebvres writings have become of increasing interest to cultural studies and debates concerning the nature of postmod­ernism, his ideas on technology and tech­nocracy, and art a- artefact and relationship, have acquired a new pertinence. This paper proposes an analysis of these themes in the context of politics and research in post-war France and in their relation to complimenta­ry strands in Lefebvres work, particularly with regard to evendav life and the city. Ben Highmore (University of Bristol): Enhanced and ibandoned: i (de)tour through Bristol In an effort to engage with Henri Lefebvre s writings on everyday life and the production of social space I examine two sites in Bristol: one is a recently "enhanced" green in the symbolic centre of Bristol: the other is a "hole in the road* shopping area and underpass that is being considered for redevelopment. I examine the social imaginations that were mobilized for the development of these very different sites and compare them to the uses to which they are presently put and to the various practices they allow. The non-fit between symbolic meaning and 'use' is the subject oi this paper. Yona Friedman (architect. Paris): Function Follows Form The principle 'form follows function" refers to only one of designs facets. The other facet, "function follows form" is thorough!) ignored. Inhabitable spaces not designed for a specific function are not less useable than those having their form adapted (in the designer's mind) to a particular kind of use. rhus, through history, caves have been used for dwellings, churches sometimes for facto­ ries, and so on. Functions are not linked to forms. Building- became "functional" if their users find them suitable to their expecta­ tions. Thus 'function-adapledness" depends on the user's judgement rather than on form. Criteria for such judgements vary with each individual user. I sers" attitudes can be more influenced b\ the specialised equip­ ment within an enclosure than b\ the enclosure s shape. If equipment (work­ bench, sanitary features, etc.) are movable from enclosure to enclosure, functions will literally 'follow" the user. This is the case with furniture. The principle "function follows form" is valid for space-complexes, for even access-ways can be movable. The "non-plan" attitude depend- on functions staying undeterminded. The most undeter­ mined disposition oi space-complexes cannot be mapped b\ planar graphs: 'space­ plans1 should substitute for "floor-plans". Barry Curtis t l niversity of Middlesex): 'The Heart of the City' -Discussing the Last C.I. i.M. Conferences In hifl introduction to the proceedings of C.I.A.M. 8. its President. J. L Sert. pro­claimed: "The period of house cleaning of the I920"s is over!" In 1952. the imperative was to create urban spaces for freelv associ­ating individuals. Architects sought to redis­cover "bare naked man . This was a planning practice informed by Sartre in terms of a restorative primitivism, whilst at the same time seeking to seize the opportunih afford­ed In the world consciousness and enthusi­asm for new social orders generated in wartime. The project of the conference was to re-establish an 'urban core and discover a formula, both formal and functional, capa­ble of creating a "heart" for the city. This paper explores a lost discourse of humanist and organic planning, conceived both in terms of an antidote to modern rationalism and as advocacy for a politics of space capable of opposing the "rule of the few . Jonathan Hughes (Courtauld Institute): The llrutal Hospital: indeterminacy and Northwick Park Hospital One of the most architecturally important hospitals to be built in Britain since the War. Northwick Park Hospital offered a thorough-going critique of notions oi architectural flexibility under the banner of 'indeterminacy*. Conceived in the early I960"s. the project has since been eclipsed b) the fantastic paper architecture of Archigram, vet the scheme's conceptual rigour and architectural brutality imbue it with a significance which deserves recog­nition once more. Moreover the building's designer, John Weeks, was associated with Constructionist and Independent Group artists during the I950's. and the building might also be seen to rehearse some of the concerns of these abstract and pop artists. Ian Horton (Open University): Legislating for Aesthetic Content in Planning Proposals 1945-60 I hi- stud) focuses on the advisor) role played In the K.l.B.A. in formulating and maintaining legislation controlling aesthetic aspects oi architectural planning and design in the immediate post-war period. The K.l.B.A. assisted the government in the creation of the Town and Countn Planning \ct ol 1947 and provided panels of archi­tects to advise local authorities on aesthetic matters relating to planning applications. Aesthetic issues continued to be central to debate on R.I.B.A. planning committees throughout the 1940s and 1950s particular­1\ in relation to planning. Though the R.I.B.A. never'officially' sanctioned an) one particular housing solution it was clear b\ 1955 that its leading architects favoured planning solutions utilising high-rise blocks. This design philosopln i> explored in this study in relation to concurrent archi­tectural theories centred around the notion of the Picturesque as an essentialb Knglish planning device eminently suited to aesthet­ically regenerating the urban environment. John Beck (Darwin College. Cambridge): / ordist. I ulnrist or I abulist: Buckminxter Fuller and the Politics of Shelter The caricature of Buckminster Killer as a kennedy-era technocrat with countercul­tural pretensions obscures the importance of the Depression as the crucible for his work as an architect, engineer, designer and social critic. The Depression revealed to Fuller the bankruptcy of corporate capitalism, and the New Deal showed him how industrial manufacturing and organisa­ tion could be used fin- large-scale public projects. Fuller wanted to use capitalism against itself, to cancel out the notion of shelter as 'property" and property as coterminous with freedom by mass-produc­ing cheap, portable, generic housing. This paper will examine Fuller's proposals for a recharting of physical, economic, and cognitive space. It will look at his battles with the architectural profession and with modernism. Radical as his ideas are, Fuller had no qualms about working fur the US military, and the contradictory historical and ideological motivations behind his work will be addressed. Chinedu Lmenyilora (architect. London): Empowerment through Self-Build: Township Housing in South Africa A radical intervention to arrest the prognosis of calamity threatening the continent of Africa on many levels, including housing, needs to be addressed. Riverlea, South Africa: tackling the apartheid architectured flats, my premise is that housing must equal empowerment, my proposal is to upgrade through self-build. The strategy intervenes to make new and better what is a bad situation, by creating a support infrastructure for local­ly based product manufacturers through an architectural clinic, which develops skills for future employment whilst investing in the community for long term benefits. A prototype clip-on kit of parts is introduced to accommodate the process of self-build, and transform the perception of the flats, whilst addressing issues concerning quality of internal and external living space. Malcolm Miles (Chelsea College of Art and Design): Living Lightly upon the Earth ­Alternative I rban Futures? 1 he city of modernity is contradictory. I rban development inscribes a new tomor­row on the blank ground of an abolished yesterday, enclaving corporate wealth amidst abjection: the product of an abstract conception of the city which depends on what Cefebvre terms "representations of space*, it is embellished by modernist art which affirms its tabula rasa. This Utopia supposes a radical break with a past which is the everyday life of urban dwellers, mirroring what Laclau sees as a contradic­tion in the notion of emancipation. But by and for whom is the city constructed'.'' How sustainable is its tomorrow? Do alternative, participatory forms of art practice, or communities which "live lightly upon the earth*, offer a model which could be mapped onto urban planning and design? (Convener: Nicholas Tromans (Sotheby's Institute) Rose Walker (Courlauld Institute. Loudon): Usual Strategies: Confronting Change in 11 th-Century Spain Historians have often dismissed the change from Mozarabic to the Roman liturgy as a minor event. Pope Gregory VII"s letters offer a great deal of rhetoric, but state no requirements beyond the adoption of the new liturgy, \v[ contemporary liturgical manuscripts tell another story. \\ hen compared with earlier manuscripts, the) reveal major structural changes and a very different approach to illumination. The new missals appear to he tightly regulated in content and presentation. The breviaries on the other hand display protean attempts to adjust. The overall impression is oi a prolonged period of confusion in which scribes and artists sought to construct a new identity untainted b\ heresy. Ian Charaock (Rirkbeck College. London): The Status of the Artist: Seneca ana' his Spanish Critics This paper will examine the efforts made in the 16th century bv Spanish artists and their supporters to improve their social standing, with particular reference to the replies made by Juan de Butron and Caspar Gutierrez de los Rios to Seneca's criticism of painting. To begin, a sketch will be given of the position of the artist in society with reference to the law and to systems of evaluating commissioned works of art; El Green's career will be compared with that of his Toledan contemporaries. The position of Seneca within 16th-century literature will then be defined, and an account given of what he has to sav in his Letter I.W W 111 about painting and the The session will consist of papers examining processes of control, censorship and administration imposed upon Spanish artists by institutions beyond their own profession. The most obvious form of policing was at the hands of the Church: countless commentators upon 'Golden Age' Spanish art writing since the 18th century hare generalised crudely about the effects of'the Inquisition'. But clerical pressures were multifaceted and frequently subtle, and theological concerns might act as a catalyst as well as a hindrance, encouraging the evolution of a peculiarly Spanish repertoire of Christian iconography. In this context, speakers will examine how the theological interests of particular monastic orders and lay confraternities informed the art they commis­ sioned. Less immediately conspicuous teas the influence from legal and governmental administration. Speakers will address problems relating to specific judicial wrangles, or to the effects on iconog­raphy of fiscal systems that taxed different types of pictures at varying rates. Another rewarding area of study is the relationships of artists to the Court. Beyond the questions of royal patronage and propaganda, there is the problem of the artist's professional position within an institution with its culture of highly codified etiquette. Finally, the impact on the visual arts of Spain's turbulent 20th-century political history is considered. Liberal Arts in general. The arguments put forward by Butron and Gutierrez de los Rios In counter Seneca > dismissal ol painting will be set out and analysed. Xavier Bray (Trinity College. Dublin): Conservatism versus innovation: Royal Commissions of Religious Paintings in Later 1Sth-Century* Spain This paper will examine problems of artistic practice in Spain during the second half ol the 18th century, when the Court was increasingly dominant within ecclesiastical affairs. Because the Court was still employ­ ing foreign artists, the artistic environment ol Madrid was veiy cosmopolitan, anil its international character had a profound effect upon Spanish artists. Alongside the growing use ol drawing, this period wit­ nessed the sophisticated deyelopment of the oil sketch iboceto. or borron). The unfinished aspect of these sketches, and their role as a vehicle for experimentation and innovation, contrasted strongly with the academic Neoclassical style of the polished finished commissions. This contrast will be analysed in terms of a growing freedom of artistic expression and its potential conflict with die Court's requirements in terms of taste and religious decorum. Nicholas Tromans (Sotheby s Institute. London!: 'Murilto mania': The British Institution and the Regulation of Taste in Early 19th - Century London The little-studied British Institution for Promoting the Fine Arts (B.I.) was the prin­cipal focus of debate in early 19th-century London oyer the relative merits of the different schools of Old Master painters. Relying primarily on contemporary press reviews of the annual Old Master loan exhibitions held there, this paper sets out to reconstruct the reception of 17th-century Spanish painting at the B. I . Spanish pic­tures were included from the yen beginning (1806). and later concerted attempts are discernible on the part of the Directors lo promote them. Thus the exhibition of 1828 marked the first real impact of Velazquez upon the consciousness of the London art-world, and that of 1836 initiated an extraordinary "mania" for Murillo. This phe­ nomenon will be investigated as a function of broader shifts in aesthetic perception, and its concrete implications tor the art market and the National (/alien described. Sarah Symmons (University of Essex): Antonio Gisbert Perez: 'Fusilamiento de Torrijos y sus com­paneros en las Playas de Malaga' Completed in 1888. this large work is one of the greatest execution paintings of the 19th century, and memorialises victims of a firing squad in Malaga during the last years of the absolutist monarchy of Fernando \ II. For dramatic intensitv and originality of vision the work bears comparison with Goya s Third of May and Manet's Execution of the Emperor Maximilian. This paper examines the portrayal of national history by a painter whose commitment to liberalism in artistic terms fuelled the desire in Spain for images of a volatile political epoch. Marko Daniel (Southampton University): Art and Propaganda'. The Rattle for Cultural Property in the Spanish Civil War Studies of the impact of censorship on art in the context of the Spanish Civil War have tended to point to the strong differential in art production between Republicans and Nationalists. The\ have seen both the quantity and quality ol art as explicable b\ reference to the differences of official policies on either side. This paper will propose a different model for examining the relationship between art and politics in this period, based on Republican and Nationalist approaches to the management of art. This will enable a nunc comprehen­sive account of the different political usages of art as thev apply not onlv to specially produced ("propaganda") art but also to the exploitation of other, already existing artworks. This approach will in addition avoid the conventional intentionalist fallacy which would make the political content of a work of art a function of the artists politics: it will instead remove the study of the reception of specific works from the private sphere into the public arena of managed and controlled spectacles. Finally the paper will re-examine two widely held notions: that the Nationalists had no interest in art. and that the Republicans" attitude to art was one of liberal encouragement of the avant-garde. This session has been generously supported by (he Henry Moore Foundation. Conveners: Johanna Darke (Public Monuments and Sculpture Association) lan Leith (Royal Commission on the Historical Monuments of England) 'The (rouble with public art is the public'. This session investigates the matching of vision with reality each time a commission is proposed, funded, created, sited and unveiled as an unfamiliar presence in a familiar space. Can a new work ever avoid public opprobrium? Must the brilliant patina always succumb to pigeons, magic-markers and acid rain until, after rears of neglect, it is cheaply and ruinously (leaned'.'' Moving into a new age of public art. how best to care for contemporary materials like resin, anient fondu. neon lighting? As post-war art ages, should not post-1945 sculptures be candi­ dates for listing, or the excellence of architectural sculptures on an indifferent building be recognised as meriting protection through listing? Do ice necessarily require permanence in contemporary public installations? Can public consultation avoid banality? Johanna Darke (Public Monuments and Sculpture Association) and Ian I.eith (Roval Commission on the Historical Monuments of England): Recording What's Out There: Lottery Funding and the PMS. \ Xational Recording Survey Since it was founded in 1991 the PMSA has progressed significanth in its original objectives: to help bring public sculptures and monuments to a wider public, to further the preservation and protection of those existing (dating on the whole from the 17th century onwards), and to promote the causes of working sculptors and of con tem­porary sculpture and public art. To do this effectively, it was recognised that we need to know the toll extent of the national heritage - ranging in quality from works of art to curious^ and in scale from a drinking fountain to Nelson's Column. So the National Recording Project was set up. establishing Regional Archive Centres in five cities from Glasgow to Bristol and with the London Regional Archive Centre based at the Courtauld Institute of Art. A lottery grant of £470.000 has boosted this work: this paper focuses on the reality of meeting the stringent conditions laid down by the Heritage Lottery Fund, after the successful application, in order to achieve the final contract and gain access to the funds. Gill Hedlev (Contemporary Arts Society): Programmes for Public Art: The little of the Contemporary Art Society The creation of national agencies to develop challenging programmes of work in non­galler) settings has thrown up its own dilemmas. The role of the Contemporary Art Society and Contemporary Art Society pro­jects, working independently with museums, companies and public bodies alike, is an example of overlap and mixed funding that bears close examination, especially in the light oi the Arts Council Lottery focus on commissions for capital programmes. Paula Murphy (Iniversitv College Dublin): ('ommemoration: Obliteration. The Destruction of Public Monuments in Ireland Nineteenth-century Ireland was ruled from London, and Dublin proved a perfect setting for monumental commemorative portrait statues reinforcing English dominance. However in the context ol a countr) ravaged by famine and promoting the new liberty of the Catholic Church, the nationalist pursuit became more stridently revolutionary and the political voice for independence more aggressively loud. From mid-century the monuments of English rulers were joined and. effectively, challenged on the streets by statues commemorating nationalist heroes. The statues in their central locations in Dublin wielded a political power that invited Opposition frequently of a physical nature. This paper aims to examine the destruction of monuments representing British domi­ nance, while exploring the artistic and his­ toric void that is the legacy of such destruc­ tion. The terrorist desire to obliterate the evidence of the past and to "cleanse" the public spaces ignores the place of history in the development of a culture. Paul I sherwood l l ni\ersit\ of Northumbria at Newcastle): Antony Gormley's Angel of the North: Meaning, Memory and Marketing Contemporary sculpture sited outside the galler) varies greatly not just in style and theme but also in its interaction with an audience and in the kind of social bonds which the work implies. Consider, for instance, how little in these respects Scott Burtons street furniture. Richard Deacon's abstractions, Richard Serra's obstructions and the commemorative statue to Bomber Harris have in common. This paper seeks to show that a reluctance to recognise that "public sculpture' encompasses several distinct cultural forms has helped place exhorbitant demands on individual pieces. A case in point is Antony Gormley's 65fl winged figure. The Angel of the North, soon to be erected beside a motorway intersection outside Gateshead. This controversial colossus is being asked to signify not merely the artist's personal musings on time, space and the body but also the aspirations of a community striving to recast its identity. Margaret Garlake (Courtauld Institute): Henry*Moore as Cold Warrior The (taper deals with Henry Moore's special relationship with the British Council from roughh 1946 to 1958. During this time he made a number of monumental sculptures {Three Standing Figures. King and Queen. Draped Reclining bigure and so on) which, as well as being 'public' works here, were exhaustively toured, usually in the form of full-size plasters, b) the BC. especially in Western Europe. M \ argument is that there was a congruence between Moore's sculpture and the BC's policy, which was to promote western ethical/social values, especially in countries threatened by Communism after the Second World War. There are strong documentary indications that Moore's work was read in these terms in continental Europe, though not. of course, in this country. Ben Hej wood (Arts Council): Public Art, the Arts Council and the Lottery Since its inception the Capital National Lottery fund of the Arts Council of England has pro\ ided o\ er 11 1 million for public-art projects, by extension of the principle oi the creation of a high-quality asset. This can be both 'stand alone" projects and projects directly connected to a building scheme. Indeed as the capital fund was established solely to create these "capital assets' and not to replace existing funding, it could be said that the capital programme itseli was in the nature of a public art pro­ject. How does this funding process work? How are applications assessed? What implications does this increase in funding have for public- art. the wider visual art community and for England as a whole? Ironically, potential problems ma\ derive from over-provision in the public art sector. How are we to safeguard quality? What can we mean by "quality" in this context? YX hat can be the role of local regional and national bodies in shaping the nature of the National Lottery project? Elizabeth Norman (Sheffield Hallam University): Public Art Practice: Tiro (use Studies from Tokyo Public art is often seen as sculpture select­ed and placed bv committees, and the audi­ence as customers concerned with account­ability and value for money. Directors of two very different projects which opened in 1995 in Tokvo treated the public not as peo­ple to be appeased, but as an audience for a long-running show. The first, comprising work b) internationally-known artist- and sited in Shinjuku in metropolitan Tokyo, is named I-Land (Love Island), and thus invokes love and harmony in the world s most competitive real-estate environment. Planned at the same time, art and architec­ture are inseparable, raret Iachikawa. an urban leisure park in suburban Tokyo, is created around faceless city buildings. 'Faret*. a plav on words, suggests both 'art" and "made . and the 90 pieces are function­ally and culturally varied. Crowded onto pavements, pedestrian bridges and the frontages of buildings, they provide a game of discovery — few visitors find them all at first. Just as Japan has taken and improved ideas from the west in quality management, the west might now look to models of public art management from Tokyo. Helen E Beale (University of Stirling): Vernon Blake's War Memorials in the Midi: What Prolongs the Life of a First World War Memorial? As transmitters of memory, arc French war memorials of the First VAorld War doomed to decay, confirmation of banality, and obliv­ion? Or are there factors which ensure a 'long life" in terms of their material survival, enduring aesthetic quality and renewed/ renewable public reception? Since these French monuments are not triumphalist, their symbols of grief, or timeless figures such as Liberty, may still speak to the public. Those retaining their own enceinte or surrounding space offer a focal point for commemorative processions, and ceremonies relating to later wars. French children b\ tradition are initiated early into such commemorative practices as the annual Armistice Day celebrations. This paper is presented in the context of the I imersitv of Stirling trench Department s research emphasis on French war memori­als. It uses examples recorded in the department's photographic archive of French war memorials (1870-71. 191 1-18. 1939­45), studied in respect of typology, iconography, relation to emplacement, and aesthetic qualities. Jeremy Beach (University of Northumbria): The Six Million Dollar City: We flare the Public Art to Rebuild this Landscape The link between public art and economic-regeneration has been explicitly stated in manv urban redevelopment programmes of the last 25 years, yet this role seems to be down-plaved in subsequent analysis of the artworks. With many modern pieces existing only because of redevelopment schemes, does the artistic and critical community fullv realise its debt to the 'men in suits'? The urban fabric is reliant on the complex interplay of commerce and community, -elf­interest and altruism. Monuments and sculpture dating from the 19th century to the present have to fit into this regenerative landscape and often multiple layers of meaning are thrown up through their associ­ations. Has the ideal of an art actually involving its public been totally subsumed? Using examples mainlv from Birmingham and north-east England, this paper will explore links between public art and eco­nomic imperatives over the last 150 years. This session will liike place on Saturday at the National Gallery, on Sunday a.m. at Courtauld/Kings; on Sunday p.m. at the National Portrait Gallery. Convener: Michaela Giebelhausen (University of Essex) — H — H 77;f aim of this session is to direct attention to the architecture of the museum and to explore the ways in which it determines the museum s relationship with its collections and visitors and with the built environment. Both the display of the collections and the experience of museum visiting are profoundly influenced by the architectural structure of the museum, which has been described in a wide range of differing metaphors. Treasure house, cathedral, enlightened temple of the arts, panopticon of knowledge or department store: the metaphorical elocutions of the museum hare been mam: The session seeks to investigate the importance of these metaphors for the function and meaning of the museum as distinct building type as well as in regard to display practices and visiting habits. It also seeks to address the ways in which architecture stages the museums claim as cultural insti­tution and the different ways in which this claim has been expressed over time. In this context the museum s specific site and the role it plays in a given urban or rural context need to be examined. A discussion of thefunction and meaning of the museum as architecture is particularly important since the museum is one of the veryfew public building types that are seen to be of symbolic relevance to contemporary society Debora J. Meijers (University of Amsterdam): The 'kunstkamera' of Tsar Peter the Great (St. Petersburg 17IS-1734): King Solomon's House or Repository of the Four Continents? On the tabula rasa of the northern swamps, based on a theoretical outline by the German philosopher Leibniz and more practical considerations (ami objects) from the Netherlands, the Tsar created an ency­clopaedic museum that by its utilitarian orientation and the autonomous position of it- building surpassed every contemporary princely cabinet in Europe. On closer inspection, however, the building and its interior harbour several traditional, allegori­cal allusions. Read in this way. not only the organisation of the museum's groundplan and its sculptural decoration, but also the location of the building can offer clues for an interpretation of this eccentric project. Tim Barringer (University of Birmingham): Applying the irts: Interpreting a Didactic Interior at the South h ensington Museum The decorative scheme of the South Court (1862-1886). architectural centrepiece of the South Kensington Museum (now \&A| , was among the most ambitious ever attempted in a museum context. Inside the massive iron and glass structure were inscribed a range of complex and contradic­tory texts, visual and verbal. In the light of new research, this paper asks: what kind of public was posited by such an interior and what readings of it where possible? How does this (state funded) decorative scheme relate to contemporary ideologies of state formation and imperialism;1 And finally, how do the most sophisticated contributions to the scheme, Leighton's frescoes, contribute to the overall semantic effect. Giles Waterfield: Search for tut Identity -The British Municipal Museum I S 70-/9/4 As municipal art galleries were set up all over Britain in the years after 1870. town corporations anxious to establish their credentials as patrons of the arts sought various means of creating museums and collections with the generally modest funds at their disposal. Through a study of key examples, this paper will look at the lack of government direction, the reliance on private patronage, the crucial role played by temporary exhibitions, and the generally insular an conventional nature of the collection- amassed, in a period oi rapid expansion which was to shape the character of these museums for the following century. Volker M Welter 11 n i \ ersitj i if Strathcl) de): The Return of the Muses -The City as Muse ion In autumn 191 \ Patrick Geddes announced a lecture series in London with the title "The Returning Gods'. The subject matter of "modern Life and Ideals in Ancient Imagery was at the heart of Geddes's theory of the city. Modern man should strive towards the timeless physical, cultural and artistic ideals embodied by the Greek gods and achievable with the help of the Muses. The Muses symbolised nine basic human activities which would transform a city into a Museion. The modem city was crowned by a Temple of the Gods and a Garden for the Muses. Chris Stephens (Tate Gallery): On the Beach: Art. Tourism and the Tate St. Ives The architecture and location of the Tate St. [ves symbolise and proscribe the historical and theoretical construction of the art on display. In its literal reconstruction of paint­ed representations of the town, the gallery perpetuates a particular 'place-image' of St. Ives. In its participation in the discourse of tourism, one can see the Tate St. Ives as continuous, not only with earlier histories oi "St. [ves . but also with past uses of high art to assist the local economy. The paper considers how matrix of interconnections between the production and consumption of'St. Ives* art and echoes of local tensions between different classes of art and artists may be seen to be inscribed in the style, fabric- and siting of the building. Hannah Lewi (Universit) of Western Australia): Post Terra Nullius: Inventing a Spare to House (Post-)Colonial Memories The museum precinct in Perth. Western Australia, embodies a colonial aide memoire as a city struggled to fill the void of memorj and identity left by the fictitious notion of terra nullius. Currently, the site i> under the gaze of the conservationist's eve. transform­ing buildings from containers into treasured artefacts. The invisible walls of the precinct are extending even further, re-inventing the (post-)colonial city as a cabinet holding fragments of a colonial heritage: an antipodean artefact in the exhibition of a pasl empire. The metaphor of the un­bounded museum illustrates an exchange of knowledges and mythologies. Neil Sharp (lniversit\ of Sussex): '...the right twigs for an eagle's nest!*: Sir Hugh Lane's Schemes for a Gallery of Modern Art. Dublin. 1907-191:1 This paper will seek to address the role of architecture in Sir Hugh Lane's attempts to set up a gallery of modern art in Dublin. 1907-1913. Lane opened a temporan public gallery in 1908. A second scheme was controversially rejected by the Dublin Corporation in September 1913 - and thus onl) "imagined in architectural visualisa­tions. The focus on architecture - an impor­tant bearer of meaning in this confrontation of artistic, national, and colonial relations ­will provide a means of critically exploring the very different responses given to the two galleries and their relation to the 'modern1 paintings I^ane collected for them. Jan Birksted (School of Architecture, UEL): Metaphor and Rhetoric at L a Fondalion Maeght The Fondalion Maeghl was conceptua­lised by Sert, Miro, Calder, Braque and Giacometti as a village. But it was also modelled on a pre-Hellenic palace, histori­cally seen as an alternative to the classical model. The Fondation is therefore both village, palace and alternative. It generates its meaning through the conflation of several metaphors: The Fondation - where art makes village into palace — is an alternative to the traditional museum. But this historical reference can only be read through emblems. Thus a signifier ol exclusion carries a signified of inclusion. What is the significance of this paradoxical rhetoric? Peter Wilson (Tate Gallery): late Gallery of Modern Art. Bankside: Master plan, Property Development, lluilding Project and New Museum of Modern Art The paper will explore the complex relation­ship between the Tate Gallery's revised masterplan for its future (1990). the search for a site for a new museum, the need to become a developer and to take on external commitments beyond its core role, the choice of a designer not a design and the need to meet potentially limitless requirements for space, facilities and features with firm but creative pragmatism. Ihe current design proposals will be presented with illustrative material from other already-realised Tate Gallery and other projects b\ the FGMA architects Herzog and de Meuron. Lara Pern (University. ofYork): I (hanging View: the National Portrait Gallery in London. lS.yS-1900 When the National Portrait Gallery first opened its doors onto Great George Street in Westminster in 1858. its geographical location provided a context for the gallery which was integral to its cultural work. The Portrait Gallery was then moved, firsth to South Kensington, then to Bethnal Green Museum in the Last Lnd. and finallv to its present address near Trafalgar Square. This paper explores the ways thai the Portrait Gallery's collection was shaped in response to each of these moves, and how the experience of its visitors was inflected by the profound architectural and geo­graphical differences l>etween each of the galleries it occupied. Charles Saumarez Smith (National Portrait Gallery): /// a New Light? The Display of Portraits at the National Portrait Gallery This paper will look at the issues which informed the redisplay of portraits in the galleries on the first floor of the National Portrait Gallery: why the decision was taken to integrate the Victorian and earlv 20th century collection; why Piers Gough of CZWG was selected as the architect; how the project relates to the display of other parts of the collection: what historical and museological ideas are at work; and the extent to which the project has satisfied the original brief. The idea of the paper is that it should provide a factual background ol some of the more general issues relating to the project as a preliminary to a tour of the galleries which will follow. Peter runnell and Honor Clerk (National Portrait Gallery): Tour of the New First Floor Displays at the National Portrait Gallery (starting in Room 17) The session will end with an informal lour of the new displays of \ ictorian and early 20th century portraits at the \PG led bv the curators responsible. Designed by Piers Gough and opened in September 1996. the new displays have attracted considerable attention for employing a number of unusual and innovatory display techniques. Building on the previous paper we will provide a more detailed understanding of the project as a prelude to a discussion which should promote critical responses and considera­tions of current issues in museum and gallery display. The last three papers, which will take place on Sunday afternoon in the National Portrait Gallery, will combine with Session 13: British Portraiture: Structures and Practices. Conveners: Evelyn Welch (( niversity of Sussex) & £ ^ Maria Ajmar (Victoria & Albert Museum) * cd J O ^ D- z ^ £5 ^ ^ » CO Evely n Welch (I niversit) of Sussex}: Defining the Decora tire Arts. Giovanni Pontano's De splendore, 1498 In 1498. the Neapolitan court secretary and humanist Giovanni Pontano published a series of five short treatises on the Social \ utiles, a work which included sections on the topics of Magnificence andSplendour. In differentiating between the two, Pontano effectively created a new category: that of the domestic or decorative arts. This paper examines his late loth-centurv definition of private luxury, considering ornamental objects such as caskets and cutlery and their role in defining the splendid household and the splendid individual. It concludes b) enquiring whether the new category was only a lieu -Aristotelian rhetorical device, or whether Pontano's De Splendore does indeed presage a changing attitude towards the rule of the visual arts in a private, domestic context. Marta Ajmar (Victoria and Albert Museum!: Women us Mirrors: donne famose and Self'Identification in the Renaissance Domestic interior This paper focuses on the theme of exem­ plar) women depicted on Renaissance spalliere and other domestic objects. This production was specifically designed to convey didactic messages and to provide models i»i conduct for contemporary women. The relationship with contemporary educational texts, such as Michele Bruto's Institution?, theorizing the use of these images is investigated. I will then examine the process of self-identification of the female beholder with these images. Finally, I will concentrate on a group of Renaissance "allegorical portraits" depicting contempo­ rary women as exemplars considered in the light of the notion of the woman as a mirror oi \ irtues. This session has three main aims: first, to explore objects now classified as the 'decorative arts' in their original historical contexts: second, to explore how the distinction between the "decorative' and fine' arts became institutionalised in this period: and third, to explore the wars in which current museum practice is informed by these factors. Luke Syson (British Museum): Holes. The Collecting and Display of Medals in Renaissance Italy \ Large proportion o( loth and 16th-century medals are (mysteriously) pierced. This paper examines the e\ idenee of numismatic collecting in the earl} modern period with the evidence of the physical appearance of the medals themselves. The presence of holes suggests that the medals were dis­played in -nine ua\ and may be indicative of the double nature of numismatic collec­tions: coins and medals could he scholarlv tools hut thev could also he treasure. Pierced medal- become significant^ less common in the mid-1 7th century, a falling off which coincides with the increased use of specifically designed cabinets. This may reflect the growing interest in classification; the victory of the scholarly over the venal or the rationalisation ol material which had been sometimes randomh accumulated. Christopher Poke (Freelance Researcher): Ducerceau. Zuccaro and the vast... tli terra da f rhino lavorati a grotesca In the mid-16th centurv there seems to have been a revival of the grotesque decoration on a white ground that was originally devel­oped by the Raphael workshop in imitation of that seen in the Domus Aurea in Rome. These were gradually adopted as the major decorative element on maioMca servico of the highest quality which were made for the most powerful clients. This paper will discuss a large number of motifs used in the maioliea of the Duchv of I rhino and show that the) were taken, not from Raphael, but from an edition of grotesque etchings by the French architect Jacques Androuet Ducerceau. A more complex and flexible interaction between craftsman, painter anil designer in the production of prestigious objects is therefore suggested. David Caimster (British Museum): The Duality of a commodity: German Stoneware as a I tilitarian and Social Medium This paper provides an introduction to the study of Renaissance German stoneware as a utilitarian and social medium. In addition to the wide archaeological distribution of stoneware, this survey draws on a number of complementary sources tor an examina­tion of function and milieu, notabh the contemporary documentary and pictorial record [FUG essentially multidisciplm u\ approach to post-medieval material culture emphasises the study of ceramics as a source of priman information for social and economic history. Lisa Monnas (Freelance Researcher): Ring-Patterned: Silk Textiles with 'ring' motifs of the 15th and 16th centuries with reference to The Ambassadors by Holbein During the second half of the 15th century, damask -ilk- woven in Italy with conven­tional "pomegranate" designs were some­times woven with additional subsidiary motifs such as a jewelled ring. Although the diamond ring had been adopted by Piero di Cosimo de" Medici the device was not confined to the Medici familv and a ring was also a potent device of the Venetian republic. This paper will begin by looking at one very important non-Medicean exam­ple of a textile woven w ith a ring device: the ducal cap of Doge Marco Barbarigo (1485­6) or Agostino Barbarigo ( 1486-1501). Then a group of 16th-centurv silk damasks incorporating the ring will be discussed. They are of particular interest because they can be shown to be in use from e.1512 to the 1560s. have a proven Medici connection and can be seen accurately in The Ambassadors bv Holbein. Francois Quiviger (Warburg Institute): Skin Contact, Image and Thought in Renaissance Secular and Liturgical I tensils This paper examines the use of the sense of touch in a range of profane and liturgical Renaissance utensils. It provides a brief survey of the sense of touch in philosophical works and popular encvclopaedias available in the Renaissance and in 16lh-cenlurv devotional literature. It concludes with an examination of the ways in which touch was used as a means of communication through the study of images in relief perceived through skin contact on chalices, drinking vessels and banqueting cutlery. Jerry B rot tan (I niversity of Leeds): Plotting and Projecting: the Place of Terrestrial Globes in Early Modern Europe Terrestrial globes were part of the decorative landscape of early 16th-century court life, aesthetically magnificent object- apparenth lacking the geographical specificity and innovation of portolan sea charts and print­ ed topographical maps. This paper seeks to contest such an account of the social and cultural status of terrestrial globes and aims to explore the ways in which globes mediated a range of commercial and diplomatic exchanges between the imperial courts of early modern Europe. The paper will consider the ways in which the rapid development of the globe industry in the 1520s and 1530s inspired a self-conscious­ ly global awareness of the known world, as well as analysing the subsequent aesthetic and decorative deployments of the global image. Conveners: (iudrun Schubert (I niversity of Brighton) Rosemary Betterton (Sheffield Dallam I niversity) This session will consider how women working in the broad field of design and visual art hare engaged with the institutional structures of their time, and how this has affected their working practices. Contributors will explore the relationship between these ideological and institutional frameworks and the experiences and practices of women artists and designers from a range of historical periods including the present. Issues include: adapting to professional codes or setting up alternatives, assumptions about the creative woman, iconography and subject matter, the uses of media or genre, public and private patronage, exhibiting practices and markets, and critical reception. Koseinarv BeUerlon (Sheffield Hallam University): Private and Public Selves: Women. Modernity and Suffrage Culture in Britain and Germany c. 1890-1914 This paper will offer a critical reading of the literature on women and modernity li\ examining some of the ways in which the categories 'women' and 'modern* were re-formed in Germany and Britain in the early 20th century. I intend to show that, through their relationships with suffrage cultures, artists including Kaethe Kollwitz and Cornelia Packa Wagner in Purlin and Sylvia Pankhurst and Ma n Lowndes in London were able to develop representa­ tions of modernity different from those produced within the canons of modernism. By focusing on representational practices that appeared to offer a space for women to articulate a changing sense of themselves as new political subjects. I hope to explore how certain "modern self-determined female identities were formed in and across artistic as well as political cultures. Jill Seddon 1 1 niversit) of Brighton): Mentioned, but Denied Significance': Woman Designers and the 'Professional isat ion' of Design in the Intertrar Period The period between about 1920 and 1950 witnesssed determined attempts in Britain to establish a design profession. Designers self-conciously sought to structure and protect their work in ways which parallelled professions which had achieved full status in the 19th century. This paper deals with the ways in which these developments affected women designer?-. It will be argued that the process of the "professionalisation" of design, which entailed a re-emphasis on its impor­ tance to industry, marginalised women. The fact that design never quite achieved the full status of a profession, however, allowed some women a greater flexibility in pursuing their careers. Their work is consid­ ered within a wider theoretical discussion exploring the ambiguities of professionalism and domesticity for women of the period. Cheryl Buckley (Lniversitv of Northumbria): Working-Class Women. Fashion and Home Dressmaking in Britain Between the Wars This paper will examine the ways in which working-class women engaged with fashion in Britain between the wars. As producers and consumers, women connected with fashion both inside and outside the institu­tional frameworks of fashion production, retailing and consumption. They made their own clothes, developed a personal style which related more to I S popular culture than to Parisian haute couture, and arguabl) redefined feminine identities and dominant fashion ieonographv in subtle, though significant, ways. Fashion provided women with a powerful tool to re-present themselves in relation to the stages oi their lives. Home dress making was particularly important in this context. This stud) will also consider some of the broader theoretical issues which relate to an area of design production which has been on the margins of history. Carola Hicks iNeunham College Cambridge): Lady Di and the Art of Manipulating the Media The career of Diana Beauclerk (1734-1803) offer- insights into the effects of class and gender on critical responses to artistic pro­ductivity in the late 18th century. The shift in perception- of Beauclerk from amateur all-rounder to semi-professional designer was made possible 1>\ two factor- which are hard to disentangle: the enthusiastic recep­tion of her work and her high profile person­al reputation following divorce for adulter), withdrawal from court life ami move to a new intellectual milieu. Patronage of both Sir William Hamilton and Horace Walpole ensured wide dissemination of her drawing-through commercially successful engra\­ ings. Commissions to design for Wedgwood suggest that both Beauclerk I nee Lady Di Spencer) and Wedgwood were happy to cash in on the dual aspects of her public image. Janis Baker (De Mont ford University): The Representation of the Hero(ine): The Feminising of the 'Hero' This paper examines the cultural and ideo­logical framework in which Nightingale was presented as "heroine" and explores die complex definitions of gender as played out in representations of her service in the Crimean War 11854-6). The focus is on the extent to which overtones of mascu)init\ contained within the image of the female "hero" were neutralised or sanctioned by a variety ol means and reconciled within prevailing ideologies of the feminine. Kmphasis is placed on comparison between images and texts and on contextualisation within wider discourses and the social and political period in which the representations were produced. Gudrun Schubert (I niversitj of Brighton): Fame, fortune and Public Acclaim of the French Landseer in England: Rosa Bonheur Reconsidered Several notable aspects of Rosa Bonheur's career run counter to mid-19th century conceptions of both "woman and "artist . That she flourished, nevertheless, was due both to the wav in which these categories were negotiated by her. as well as to the commercial acumen ol her dealer. Gambart. B) referring to two paintings in British collections — the National Gallery's Horse Fair and the Brighton Museum and Art Galleries Shepherd — it is hoped that her status as 'woman1 and 'artist' can lie >een more clearly, including the fact that her notorious adoption ol masculine attire and habit of smoking were used to enhance interest in her work. Maud Sidter (Altitude Internation Arts Consultant ); Kairos-International \etworking and the Mid-Career Woman Artist: a Review of Current Practice Thursday, Jul) 1 1. 1994, Bastille Day ­fhi> morning Susan helped me begin to clear m\ desk, which is an unbelievable task. As soon as I put something on this tape. I have one folder of things that have to be answered... Ma\ Sartor. AT EIGHTY TWO. il<>96>. This paper explores contemporary women painters. Alice Maher (Eire!. Elenor Bond (Canada). Jaune Quiek-To-See-Smith (LSAl. Lubiina Himid (L k). and Rchvn Kihukiwa (NZ). B) drawing on primary sources it investigates three core issues: location, relocation and diaspora; the influence of art markets on economic and cultural survival as professional practitioners: and the importance of international networking. \S hat dreams do women have? What strategies are needed to support feminist artists who refuse co-option into a post-feminist maelstrom? Claire Doherty (Ikon Gallery. Birmingham): Domestic Disturbances: the Resurgence of the Domestic in Contemporary Art Practice This paper will analyse the resurgence of the domestic in contemporary art practice, placing it within the historical context of the suppression of the domestic in Modern Art. The associations of the illusory home — comfort, security and privacy — are shaken by dysfunctional objects created by such artists as Rachel Whiteread, Doris Salcendo, Carolyn Eskadale and Permindar Kaui I his historically feminine realm is emerging as the dominant iconography of late 20th centur) artistic practice. I his paper will thus also explore how women artists negotiate the essenlializing and depolitieization of work as a result of working within this feminized realm. Pen Dalton 11 ni\ ersity of Birmingham): Art Education and Consumer Identities This paper outlines the histories of art education in schools as the struggle between two opposing ideological forces:firstly. fine art teaching centred around die concept of a gender neutral 'child', and. secondly, a wicational strand which privileges an art education based in guilder divided design and craft discourse. In order to sur\ i\e at all. the teaching of fine art in schools has always had to adapt to accomodate vocational pressures from manufacturing and consumer interests. Gender different art teaching practices saturate the fine art curriculum. Fine art themes of individual creativity, self-expression and personal development through art are absorbing and absorbed by the language and values of the discourses of mass production, business and consumption in what is now a "feminine* service economy. The discourses of fine art education can thus t>e seen as implicated in the processes of constructing consumer desires, pleasures, fantasies and identities in a specifically gendered form. Sue Walling (Somerset College of Arts and Technology): Women Artists and the British Pop Art Movement: Horror Statistics in a Discursive Void In 1991 the Royal Academy of Art hosted a major retrospective of Pop Art. Out of 202 works, only one was by a woman. What lies behind this raw statistic? Focusing on the British Pop Art movement over the 20 year period 1948-68 and in search of answers beyond the contention of individual failure, this paper applies a close scrutiny to the structures and practices with which women had to contend. It will present findings on the Royal College of Art. the Young Contemporaries shows and on critical reception of Pop in Britain. What emerges is a picture of horror statistics in a discur­sive void. Gillian Perkins (Nene College of HE): 'Is it Art or Craft'/1' -Contemporary Women Painters' Identity This paper examines the impact that art institutions and curricula have had on the sense of self of contemporary women painters. Based on interviews with \'.\ women artists from the East Midlands region this paper will analyse how and why current art education is inadequate to women artist-" needs and suggest thai the dominance of a masculinised notion of the artist and of art creates difficulties for women such as an absence of appropri­ate role models, a hierarchy of art forms which appear to close off certain ways of working, and a failure to engage with gender issues in artistic practi: : I his paper will argue for a need to feminise the framework within which practising artist- are currently educated. fer­ (" onveners: al Georgia Clarke ml (Courtauld Institute of Art) Paul Cross ley (Courtauld institute of Art) Achi m Ti mme rm ann (Courtauld Institute): (Hdch, wit und sinweV: Architectural Language in Middle High German Literature Leaving aside obvious symbolic references to the Heavenly Jerusalem, the many architectural fantasies found in Middle High German literature are commonly considered to have been inspired by either Romanesque or Gothic architecture. Sedlmayr thn­advises his readers to look at Gothic architecture through the lens of Albrecht \oii Scharfenberg's description of the (.rail Temple in the \oitnger Titurel (before 1294), and Liehtenberg concludes that Albrechts use of the terms 'hoch, wit und sinwel (high, white and circular) i:- a clear expres­sion of the new Gothic spatial feeling. The paper questions this approach, arguing that, as far as the description of architectur­al structure was concerned, medieval authors relied on a narrow range of literan topoi traceable to early medieval sources. Instead, comincing analogies to the aesthet­ics of medieval architectural fantasies are provided by examples from the so-called minor arts, especially metalwork. Peter Draper I Birkbeck College): English uifh a French Accent; or Architectural Frangtais in Late 12th-Century England? The importation of architectural ideas from northern France in the late 12th century and their assimilation into the indigenous tradition to form a distinctive variant of the emerging Gothic stvle is obvious in the archaeological record, and given the close connections between England and trance at the time, this marked divergence in the development of architecture is undoubtedly significant. As there is scarcely any conlem­ The idea of architecture as a language, particularly as grammatical style, is at least as old as Cicero and Vitruvius. But architecture as a semiotic system, as an 'iconography', has been the particular concern of historians only in the second half of (his century; while the parallels between architectural vocabulary and linguistic structure have only just begun to be uncovered. This session sets out to examine broadly the relationship between architecture and language in the medieval and Renaissance periods. What are the limitations of architectural iconography, not least in its assumptions (or lack of them) about audience and reception? How useful is the idea of 'architectural quotation' as a method of constructing a visual-political language? What paral­lels are there between linguistic structures and architectural vocabularies? Is there a significant connection between the evolution of 'national' and 'regional' languages and dialects, and the creation of corresponding architectural styles? What do contemporary ekphrases of architecture tell us about architectural perception and the limitations of verbal description? This session seeks to explore the rich implications of these juxtapositions in the history of medieval and Renaissance architecture. Papers will examine issues of architectural language and style, deal with the nature and influence of descriptions of architecture on both perceptions of buildings and their design, and consider how architectural theory itself responds to the theme. porary literary evidence of the perception of this process, this paper suggests that a fruitful approach for the architectural historian is to explore the parallel development of Anglo-Norman French in an English-speaking context and the greater contemporary awareness of its progressive divergence from rrancien. Cammy Brothers (Harvard University and American Academy in Rome): Language. Architecture and Text: Humanists. Antiquarians, and Architects in Late 15th-Century Rome This paper explores parallels between the activities of humanists and antiquarians in the late 15th-centurv Roman circles of I'omponio Leto and Cardinal Raffaele Riario and of architects engaged in the study of ancient Roman architecture and the construction of new buildings, discussing how the activities of both groups can be seen as revolving around questions of lan­ guage and text. It questions the existence of an architectural grammar at this time and instead considers as more important for both groups the selection and imitation of models chosen from the Antique. These issues will be examined in relation to specific groups of buildings and the Codex Coner sketch-book. David Hemsoll I Barber Institute of Fine Arts): The Literary Theory of \rchitecturv in Italy c. 1530 In early 16th-century Rome, the personal acquaintanceship of Raphael with Castiglione. and particularly with Bembo. is symptomatic of the many close connec­tions that were being established between architects and literary theorists at this time. Bembo himself regarded the activities of artists and architects in basing their work so scrupulously on antique precedents as a worthy example for the endeavours of the writers of his time, and, on his return to Venice, he befriended the two leading architects who were working there, Sansovino and Sanmicheli. They in turn seem to have adopted an approach which in many respects closely mirrors Bembo's stated views of literature, which may well have formed one of the kev catalysts for the development of architecture during this period. Alina Pa) ne (University of Toronto): Architectural Theories of Imitatio and the Italian 16th-('entury Debates on Language and Style This paper explores the impact of the debates on the "questione della lingua and literary style on the development of a theory of'imitatio" in 16th-centurv Italian architectural discourse. The transference of theory from one discipline to another was facilitated by three principal and inter­related factors: archaelogical activities which united Metterati" and architects in a common intellectual venture: the continuous recuperation activity centred on Vitruvius which involved nothing less than the formulation of a language for architectural theory and which once again united architects and humanists: and finally, structural similarities between language and architectural forms units. The form this transference took will be explored with reference In selected mid-century texts (Serlio. \asari. Barbara. Spini and others) and will concentrate on a number of concepts that entered architectural theory at that time and played a central role in the formulation of a theory of "imitation". Deborah Howard (Cambridge University): Languages and Architecture in Renaissance Scotland This paper examines the self-conscious use of foreign elements in Scottish architecture between 1500 and 1660. It explores the adoption of architectural elements from the Continent to explain the social milieu and aspirations of patrons. The equation with language is not a simple one. \X bile the Scots tongue became increasingly recognised as a literary language, at the same time it was progressively anglicised, especially after 1603. Although in building some English ideas can be traced, the two national idioms retained their distinctive­ness. The study of the classics was pervasive, but the shift to the vernacular and the increase in popular literacy held Latinisation firmh in check. Education played a primary role in preparing the view­ing audience for the reception and decoding of buildings. The delineation of precise social rank and ideological affiliation could be explained by choice of architectural vocabulary, based on a fluid and notional lexicon informed by European-wide travel and trade. This session will take place in the Lecture Room of the National Portrait Callery. ( 'onveners: Peter Funnel I (Xational Portrait Gallery) Shearer West (I hi versify of Birmingham) Marcia Pointon IL nn ersit) oi Manchester): Shakespeare. Portraiture and iuthenticity The Chandos portrait of Shakespeare is number 1 in the National Portrait Gallery catalogue. Continuing debates about its authenticity notwithstanding, this posthu­mous portrait is arguabl) the sine qua non of the English national collection of portraits. This paper will address the relationship between the historical portrait as material monument, and the idea of the authentic "real" accessed through countless counterfeits. It is a relationship that, I shall argue, lies at the heart of the very institu­tion o f the portrait gallery as national. Thus an examination of the Chandos portrait as pre-text for assertions of the authentic is. also, an enquiry concerning the institution's authority in the production of history. Shearer West I Birmingham I nh ersity): It it fees'* Squint: Emblematic Portraiture and the Politic* of the Body I sing Hogarth's etching of John Wilkes as a starting point, this paper investigates representation of the famous proponent of liberty both before and after Hogarth's work. The complexity of W ilkes's private character, and his ambivalent public role during the 1760s made him the subject of numerous polemical publications and popular prints. A study of the imagers of Wilkes produced before and after Hogarth's caricature reveals the ways in which was in eighteenth-century parlance termed a 'deformity1 could become representative of the abstract values that Wilkes, as a popular hero, acbocaled. Thi> paper considers the changing meanings assigned to Wilkes's squint ana1 the ways both engraving and [tainting appropriated or avoided this characteristic for particular ends. This session focuses on British portraiture of the 18th and 19th centuries. Uthough papers will adopt a variety of approaches, common concerns will emerge including portraiture and nationhood, the politics of the portrait image and the historiography of British portraiture. This is the just AAH conference session to be held at the National Portrait Gallery and papers will also address the role of the Gallery itself as a repository of likenesses of the famous. For its third group of papers, the session will combine with that on The Museum and its Metaphors to examine the Gallery's displays, both historical and present. France. Yet Watt, often portrayed as melancholic, does not fit easily in familiar patterns for celebrating masculine achieve­ment in the 19th century. Nonetheless. Watt was widely loved, appreciated, commemorated and portrayed, even as his achievements were hotly debated. I discuss images, statues and texts in the context of discussions about the national significance of knowledge and expertise and about how intellectual achievement was to be depicted Gertrude Prescott Nuding (London): Corporate Images: Learned Societies and Iyartrait Collecting Against the backdrop of the National Portrait Gallery's founding (1856) and exhibitions of privately owned portraits (British Institution 1829. 1846: The Manchester Arts Treasure Exhibition 1857: South Kensington Museum 1866. 1867. 1868). significant collections of por­ traits were being assembled within various learned societies. In this they followed the lead of the Roval Society, whose holdings of portraits began soon after its founding in 1660. While the National Portrait Gallery trustees eschewed living celebrities, learned societies championed their living worthies by displaying portraits, lending portraits to public exhibitions and sanction­ ing photographic, graphic, and sculpted repn >ductions. Lara Pern l l niversitv of V>rk): I (hanging View: the Xational Portrait Gallery- in London. 1 SIS-1900 W hen the National Portrait Gallery first opened its doors onto Great George Street in Westminster in 1858. its geographical location provided a context for the gallerv which was integral to its cultural work. The Portrait Gallery was then moved, firstly to South Kensington, then to Bethnal Green Museum in the East End. and finally to its present address near Trafalgar Square. This paper explores the wavs that the Portrait Gallery's collection was shaped in response to each of these moves, and how (he experience of its visitors was inflected by the profound architectural and geographical differences between each of the galleries it occupied. Sarah Hyde (Courtauld Institute of Art): Portraiture and the Poor in England in the 1770s Portraiture was a category of painting not frequently associated with the poorer sectors of 18th century English society: indeed. 20th century art historians such as Benedict Nicolson have assumed that 'portraiture, in the accepted sense, was not ordinarily permissihle in Wright [of DerbyJ's day on a lower social level than that of the middle class.* Nevertheless. Wright and others produced paintings, drawings and prints of individual senanls. artisans, labourers, itineranl tradesmen and beggars. By exam­ining these images, as well as the circum­stances in which they were produced. I will try to suggest wa\s in which the boundaries of both the aesthetic category "portrait" and the social category of the sitters were policed, and under what circumstances they could be transgressed. \intan Cullen (I niversity of Nottingham): Portraiture and Religious ( ncertaintv in Late ISth-eentnry Ireland I hi- paper will analyse the late 18th­eentun tendency to mix genres in the representation of Public Charity. The focus will he on a portrait by Hugh Douglas Hamilton of a former Catholic priest turned Anglican minister. Walter Blake Kirwan. Shown surrounded b) his wealth) admirers and the destitute orphans of Dublin, the subject of the oration he is seen performing. Kirwan*a image raises questions about the role of image making at a time of religious and political tension. Ludmilla Jordanova (University of East Anglial: in I nlikelyHero? James Watt and Partraitnre far an Industrial Xation I will examine representations of James Watt (1736-1819) in terms of heroism, nationhood and progress. Watt became strongly identified with Britain's industrial revolution, the achievements of British science, and successful ascendency over Charles Saumarez Smith (National Portrait Gallen ): /// a New Light? The Display of Pf this >\~tem and used a range of officials to administer it. including historical advisors anil militan experts, not to mention those agents who liaised directly with artists, controlling the finances of projects, their progress, drawing up contracts and paying for work. The fluidiu of relations between patron, agent. *id\isor and artist will he a central theme ol this paper. Gabriele Neher 11 nh ersit) ol \\ arwick): Ronianino and the Court of Cardinal Bernardo Clesio of Trent Cardinal Bernardo Clesio. Bishop of Trento. was one of the most important princely patrons of transalpine Europe during the Renaissance. Commissions for the decora­ tion of his Palazzo del Buonconsiglio attract­ ed the attention of a range of north-Italian artists, including the Breseian painter Romanino, who had entered Clesio's service b\ 1531. Ronianino. best known for his sacred altarpieces. abandoned his indepen­ dence as head of his own workshop in order to enter a team of artists eial>orating the very secular decoration of the Buonconsiglio. all under the direction of Dosso Dossi. a highh experienced court artist. Other painters filled Romanino's place in Brescia, for example Moretto da Brescia, and the ultimate down­ ward turn illustrates the hazards of entering a court svstem. This session deals with patronage of the visual arts at sovereign courts. It addresses itself to the phenomenon of multiple foyers of patronage at courts: that is to say that no court was a homogeneous unit, but all were a heterogeneous collection of circles. It will examine the roles of the artists as courtiers, their income and their court offices in tandem with their artistic creations. The widest range of media will be explored, including the 'decoratire' arts, ephemeral events such as pageants and festivities, as well as portraiture and the other 'fine' arts. The history of active patronage will be a central focus, as well as the history of collections. Luc Duerloo (Hrl katholieke I niversiteit, Leuven): 1// European Court in Brussels: the Cultural Patronage of the [rchdukes ilbert and Isabella, 1599-1632 Best known in the history of artistic patron­age for their support of Pieter Paul Ku 1 n-ns. Archduke Albert and the Infanta Isabella, daughter oi Philip II oi Spain, deployed cultural politics during their reign in the Southern Netherlands in order In create a specificall) sovereign court, where before there had been only governors, and to restore Habsburg rule in the area centred on Brussels and Antwerp. Although Rubens may seem, to 20th-century e\es. the principal figure of this court, other artists, architects and. indeed, scientists played significant and interlocking roles in the definition of an identifiable "Belgian court culture, one in which the boundaries between "culture* and "politics* were conscious!) blurred. Sarah Richards (Bath College of Higher Education): Material Progress and the Dresden Court: Patronage and Luxury Manufacture*, t 700- t 750 The stud) of court patronage of the arts has frequently been dominated by the commissioning or acquisition of paintings. rin• importance of the Meissen and Se\ res porcelain works for patronage at the courts, respectively, of Dresden and Versailles in the 18th centur) points to the danger of ignoring the so-called 'decorative arts". The Saxon court at Dresden had. since the 16th century, drawn for its patronage upon the strengths of its mining and metallurgical industries, and the very closer)-guarded secret for the manufactory of hard-paste porcelain, which created an international market for luxury ceramics, made a profound impact on the Dresden court workshops and the electoral collections, while helping to define the role of porcelain as an appropriate form of court culture during the ancien regime. David Maskill (\ictoria I niversitv of Wellington): I Royal Copyist in ISth-Century France: the Case of Francois-Albert Stiemart 1 he career of Francois-Albert Stiemart (c. 1680-1740) sheds light on main of the different facets of court patronage. His copies of official royal portraits at the court of France, in addition to those of Old Master paintings, drives attention towards the importance of the individual image as distinct from the masterpiece signed b\ the identifiabl) distinct hand, while his (lose association with the duc'Antin. the surinten­dant des bailments, along with his marriage links to rrancois l.c Moyne point directly to the importance of clientele bonds and those ol kinship, the network ol vertical and horizontal social ties which structured the distribution of artistic patronage throughout the European court system. Stiemarts professional success also raise- important questions about the role of painted copy in early-modern court culture. David W isner (The American College of Higher Studies. Anatolia College. Pvlea. Thessaloniki): The Ministry of the Interior: Diffusion of Revolutionary Culture in France, 1TS9-1S00 It is essential to view court cultural patron­age within the structure of alternative form-, republican models during the ancien regime but also those agencies which displaced them after 1789. A study of the French Ministry of the Interior during 1789-1800 underscores the continuity between the Bourbon administration of the 18th century, increasingly inclined to so-called "modem notions of museological organisation . and the Bonapartist Empire, the prelude to the Restoration. It also introduces the concept of a "republic of collectors", questioning the role of a homogeneous government or the -ingle individual initiative in the history ol collecting, directing attention to the creation of a conscious effort to protect and preserve a shared and distinctly "national" patrimony. Robert Oresko (University of London): Is there Life after Haskell?: the Course of Court Patronage Studies since 1963 Francis Haskell's Patrons and Painters made a major academic impact on its appearance in 1963. and during the past decades many studies of artistic patronage have referred directly back to the assumptions implicit in the structure of this book. At the same time, political and social historians have explored different concepts of patronage and clientele systems, often centred on the same people, die same "patrons", without the two branches of studs intersecting. The evolution of research devoted to hereditary, sovereign courts, essential foyers of expenditure on the arts, somewhat neglected by Haskell, offers further documentation tin how and why objects were created and how the\ functioned, while questioning the primacy of painting and such notions as 'taste . Conveners: Jeremy Wood (I niversity of Nottingham) Carol Gibson-Wood (I niversity of Victoria, British Columbia) Discussions and descriptions of the pictorial arts become much fuller and richer in Britain during the 17th and 18th centuries, as the market for pictures expanded dramatically. . whether the) wen- artists, household sen ants, or even a new breed of art experts. Jeffrey M. Muller (Brown L niversity): Finish and Closure in Miniature /'ainting: Terms and ( oncepts introduced by Edward Xorgates 'Miniatura or the Art of Limning' t<)2S/l(>4S) In his two versions of Miniatura. written twenty years apart in 1628 and 1648. Ldward Norgate grappled with the paradox that an art distinguished bv its exact finish was increasingly expected to reproduce the bold touches of oil painting. In his first version. Norgate used terms and concepts from Italian and Netherlandish writers to describe freely painted but complete works. The second version of Miniatura reveals a more incongruous use of Italian terms ami critical ideas. This suggests that Norgate was unable to describe the changes brought about by the virtuoso brushwork of Samuel Cooper and Anthony van Dyck. Norgate played an active role in assimilating; Italian. Netherlandish and French artistic traditions into both the English language and the practice of miniature painting. Britain's most prestigious native tradition in art. John Peacock (I niversity of Southampton): Sanderson's 'Graphice' and the Language of Painting Sir William Sanderson's "Graphice' was published in 1658. and is addressed to readers who needed to find continuity between the culture of Interregnum London and the aesthetic interests of the former Caroline court. Sanderson represents himself as an "amateur" whose knowledge is gleaned from studious reading. Although his "theoretical" discussion is eclectic and reflects ideas put forward by Pino, Dolce and Lomazzo in the 16th century, in other ways lie can be up-to-date, anglicising the concept oi the sketch (or 'scatch') decades before it became established. Sandersons aim is to celebrate the work of Van Dyck, and lie uses a romantically aestheticising language to recreate the imagery of this supreme court artist. Carol Gibson-Wood (University of Victoria, British Columbia): Richardson s 'Sublime\ Although the concept of 'the sublime* i - most familiar through Edmund Burke's study of 1757. it had already been applied to painting by Jonathan Richardson in his Essay on the Theory of Painting of 1 715. This paper will suggest that Richardson's ideas on sublimity have more significance than has been previously thought, and that they underwent a significant change between 1715 and 1725. \s hereas he first developed the concept to accommodate t he "indecorous* paintings of Michelangelo, by 1725 Richardson had retreated to a less interesting position addressed to sublimit) in literature. Recent writers on Richardson invariably refer to the 1725 edition of his Essay, and fail to comment on his earlier, more radical discussion. The 1715 text, however, was known to Joshua Revnolds and I will argue that it formed an important source for his own. better-known account of "the sublime* in his Discourses. Barbara Arciszewska (University of Toronto): Eve Looked: Architecture and its Audiences around 1700 This paper will explore the presence and changing status of women as spectators of architecture in England around 1700. It will investigate the position of the female aesthetic subject through an analysis of the observations on architecture found in the correspondence of Sarah Duchess of Marlborough (1660-1744) and her contemporaries. I will define a pattern of convention and variation that is revealed, and concealed, in the strategies of oblique­ness employed by these writers, who responded to restrictive cultural definitions of femininity. I will propose that the discourse of art reception evolved towards excluding women from the aesthetic debate on architecture and towards associating them with the widely understood issues of utility in architecture. Harry Mount (Oxford Brookes University): Patriotic Freedom and Breadth: Attacks on Minuteness and the Defining of a National Style in t Sth-Century Britain A recurrent feature of British 18th-centurv writing on painting is a dislike of'minute­ness,* of high detail and polished finishing. Minuteness was often associated with foreign styles, whether those of specific foreign artists working in Britain or those of foreign schools as a whole. Conversely, writers patriotically concerned with the promotion of British art identified breadth and freedom of handling as among the defining qualities of the British school they so desired. At lime-, usually during war-, this breadth and freedom acquired added significance through its parallels with British political freedom. This paper will examine the importance of breadth for those writing about the British school, and ask whether painters responded by adopting styles that were self-consciouslv broad and devoid of minute detail. \alerie Holman (L niversity of "ftestminsterl: Spreading the Word: Art-Hook Publishing in Mid-Victorian England in the 1840s the appearance of a publica­tion on art. the type of illustration it contained, and how it was distributed, depended on the publishing house from which it emanated. There was as yet no model for the art book, nor were those that existed a separate category of trade publishing. For this reason, texts on art are to be found in widely differing locations. from Temperance magazines to travel hand­books, but the language used is less diverse, since the same authors and texts featured in books published by the more illustrious houses and in part-works destined for the cheaper end of the market. In the light of this I will argue that the way in which the new vocabulary was transmitted had quite as much significance as the words themselves. Adele Ernstrom (Bishop's University): 'Christian Art' in 19th-Century I listorittgrapfn • In British art historical circles around 1830 the concept of "Christian art" was formulated as a catalvzing principle of the new discipline. The term itself flouted established definitions of art and artistic progress. The impulse for this reached Britain from the continent, and it was prepared bv scholars who examined the meaning of early Christian images (Miinter. 1825). and studied legend formation in Christian folklore (Maury, 1843). This paper will focus on the negotiation of these issues bv Anna Jameson, George Darley, Lord Lindsay, among others, and it will argue that the meaning attached to "Christian art" had far-reaching importance for the prioritv given to authentic religion- feeling mer fluency of handling, and the awareness of art as a function of community life over the aesthetic preferences of the private amateur. Jaj nie Anderson (Independent Scholar): Morellian Vocabulary and British Museology The Morellian method was invented as a diagnostic instrument to define and preserve the Renaissance past. During the Italian Risorgimento - especially in the 1850s and 1860s - Italian patriot- were concerned with how the Italian national patrimony should be displayed, which museums should be created from what sources, and about the nature of scientific restoration/conservation. Many ideas were put forward about how to reform the Italian cultural heritage and directors of British museums, notably Sir Charles Eastlake. had to come to terms with these ideas in one way or another. This paper will explore how these issues were reflected in English debates up to the end of the 19th century. ('onvener: Fiona Bradley (Tate Gallery Liverpool) This session i< ill examine the continuing dominance of surrealism in debates about modern and contemporary art: the ways in which the artistic, descriptive and critical vocabulary formulated within and around surrealism structures the practice, the exhibition and the critical reception of modem and contemporary art. Papers examinesurrealism into the legacies of surrealism other art movements and in modern and contemporary instances, and the intersection art. the survival of of surrealist ideas and ideals with contemporary art and theory David Hopkins (I1 niversity of St \ndrews): Inventions and Replications of Dado/Surrealisi Masculinism in Recent British Art I his paper will examine work l>\ a range of British artists such as Sarah Lucas, Hermione Wiltshire and the Chapman brothers, in order to show how the self­consciously Oedipal transgressions of Dada and Surrealism, with their frequent play on gender-coded imager) and laddish in-jokes. have been ironically reprised in certain areas ol recent British art. Mignon Nixon (Courtauld Institute): Bad Enough Fathers: Louise Bourgeois and the Surrealists This paper takes as its point of departure Bourgeois's deepl) ambivalent connection to a circle nf Surrealists she has characterised as 'father figures : Breton, Di n damp and Mini, whom sh e met as a student in Paris In the 1930s and again in New York in the 1940s. Casting Bourgeois's ambivalence in psychoanalytic terms as a kind ol negative transference, the paper uses the model of transference as a framework for reading Bourgeois's feminist critique of Surrealism. Bourgeois s work is profoundh engaged with Surrealist practice, and this connection was sustained, even intensified, in the 1960s and 1970s. long after the movement itself hail ended and during Bourgeois's active involvement in feminist politics. The persistence of her engagement with Surrealist practice would seem to demand a reading thai exceeds conventional art historical notions of influence to encompass the structural ambivalence of a negative attachment. By examining her so-called lather-figures, this paper therefore attempts to demonstrate how Bourgeois's contentious relation to Surrealism proved so productive. Denise Robinson (Goldsmiths College): Telling Stories Contemporary exhibitions oi Surrealism have told its 'story' main times, vet there lia s been little attention paid to what is at slake for cultural agencies to present this story as a stable object of history. That the ambit of Surrealism failed to resist received historical constructions of the feminine in pursuing and re-thinking the 'strange power' ol the object has been the subject of attempts to interrogate Surrealism vis-a­\ is its relation to the feminine. However, it was in fore-grounding the place of the unconscious in the formation of object subject relations that Surrealism embodied a potential for a critique of difference. In rethink the 'strange power" of the object is the project of much contemporar) art practice. This paper considers among others the work of Susan Miller, work which always approaches the 'strange power* of the object while keeping an ambivalent eve on the historicising process. Amna Malik 11 niversit) of Bristol): Corps: 'etranger'or "exquis%? This paper proposes a reading of Mona Hatounfs Corps etranger (1994) as a response to the aesthetics of hysteria exem­plified in Surrealist psychic automatism. Such a reading will depend on a re-evalua­tion of Surrealist psychic automatism, not in terms of spontaneous expression but as the communication of le lertige. or a state of dizziness, through a poeticisation of hysterical convulsions as a symbolic language. W hilst Surrealist le rertige operates in die spectator's attempt to impose a coherent meaning through the juxta­position of fragmented parts, the success of Hatoum's Corps etranger lies in our inability even to identify the body in terms of part objects. This paper seeks to examine the broader context within which both approaches explore and utilise the notion of identity through the collective body, and the implications of Hatoum s reversal of the Surrealist poeticisation of the hysterical IMMIV. through a medicalisalion and thus alienation of the self as subject. Alyce Mahon (Courtauld Institute): 'Outrage au.e Bonnes Moeurs9: Surrealism. Jean-Jacques Lebel and Paris in the 1960s An examination of post-war Surrealism, its subversive characteristics and involvement in issues of obscenity and censorship, and the impact its rebuke of public morality had on the Happenings of the 1960s. Analvsing the art of Jean-Jacques Lebel, an artist whose combination of Surrealist taboo-breaking. Duchampian smut and Sadean gesture brought a politicisation and a pecu­liar sense of Kreneh-ness to the American Happening, the paper will focus on one particular Happening which took place in Breton's own apartment building in 1966. the year of his death. Resulting in the arrest H| Lebel and subsequent Surrealist petition­ ing for his release, this Happening signalled a turning point for French art: awa\ from the subversive poetic and towards the overt political. Merging Surrealism, a Sadean happening, and a post-Algerian, pre-1968 society, this paper insists on the Surrealist foundations of the anarchic impulse behind 1960s Kluxus. Happenings and Inter­ national Situationism. I )a\ nl Lomas I I ni\ ersit) ol Manchester!: ' I'he Metamorphoses of Salvador Da It" "As antisocial as a flea" was Orwell s estimate of Dali. This paper will survey the history of Dali's manifold exclusions starting with the Surrealists. From having been a figure of abjection, paradoxical!) it is the abject in Dali that now offers an avenue for his art historical redemption. The theme of abjection will be explored with reference to The Metamorphosis of\ardssus. A comparison with Bataille's anli-aesthetie of putrefaction (which may well owe something to Dali) will serve to higlight a dual reference to the bod\ and the self in the Bataillean informe. obscured in recent quasi-formalist appropriations of this term. Conveners: Colin Trodd (I niversity ofSunderland)HUH Kai'ael Cardoso Denis (Escola Superior de Desenho Industrial, Rio de Janeiro) x s o For most of the present century, 'the academy' and 'the academic' hate been token as a monolithic 5 K ^ H— mm 111 backdrop against which to gauge the originality of the avant-garde. The central concern of this session is to scrutinise the complex and varied structures actually erected by academies and the epistemological systems revolving around them, particularly in terms of teaching, training and professional validation. Papers will draw on historical examples throughout Britain, the rest of Europe and the Americas, focusing on issues such as: the authority of teaching; the definition of canons and the academic ideal: educational practice as an expression of stability or change: the mutation of ideas and art idioms within academic training: the dynamics of academic display ami its hearing on the status of academic knowledge; the nature of academies and academicism: the tension between educa­tional and honorific functions within academies: the institutional politics of academies and their relationship to broader social structures: the public roles of academies and their links to established structures of power and class: official and unofficial in art and education: the academy and national identity: academies as channels for the diffusion of a particular cultural vision; the international dimension of the academic system and the export of European cultural models: social groupings on the margins of academies; the development of alternative .systems of artistic education outside the academy or in parallel with it: anti-academicism and its advocates. I'aul Barlow (University oi Northumbria at Newcastle): Rethinking Raphael: His Death and Transfiguration in I9th-Century Art Academic art oi the century is com­monl) thought to aspire to be 'Raphael­esque". To this extent the death of Raphael as a model lor art is hound up with the emergence of avant garde identities, ['hi- paper considers the problem of Raphael in academic practice h\ looking at the development of divergent forms of Raphaelesque identity. In particular it analyses one attempt to reconstitute Raphael as a mode] for modern forms of academic practice. In doing so, it considers both the continuing influence of Raphael's pictorial procedures and the iconography oi his life and death, in particular the associations of Raphael'- last work, the Transfiguration. The analysis concentrates on Henry O'Neil's apparently simple historical genre painting The Last Moments of Raphael 11806). Gordon Fyfe (Keele University): inditing the Royal Academy of Arts (HA): Official Discourse and the imnesia of hist it at ions This paper begins with the Sessions insight that academies are heterogeneous places at which conflicting discourses intersect. The focus is on discursive conflicts which irrupted into the 19th and earlj 20th­cenlury slate as official inquiries and which (amongst other things) sought to determine the status of the RA as public or private. The paper considers these inquiries firstly as they relate to the states deepening involvement in the business of organizing cultural identities: secondly as they illumi­nate the RAs changing position within the force field of the British State: thirdly as they admit conflicting memories of the RA's past into the public sphere and Lastly as they illustrate the role of amnesia in the modernization of art institutions. Duncan Forbes ( I niversit\ of Aberdeen): A 'Representation System' or the 'Demon of Democracy •V the Struggle for Academic Legitimacy in Edinburgh in the I S'JOs The 1820s in Edinburgh witnessed apro­tracted struggle between divided groups of artists and patrons for control of the urban fine arts. Utilising the language of Reform, and attracting the patronage of the progres­sive upper bourgeoisie and urban gentry, Edinburgh's artists worked hard to establish an academy of art in defence of their autonom) and economic interests. In an urban environment marked b) unprecedent­ed political antagonism, the liberal press represented their struggle as an exemplary one. and the Acadeim s activities were sup­ported by a social fraction eager to acquire new forms oi social and cultural legitimacv. Despite social conflict and the contradic­tions embodied by political co-option. Edinburgh's artists succeeded in establish­ing their academic authority. However, they failed to build immediately a new public for their art. and it was only in the wake of the Reform process, aided by the invention ol new institutional technologies, that the Academy's future was assured. Joe Rock (University of Edinburgh): Richard Cooper Senior and the Academy of St. Luke, Edinburgh This paper will examine the life and work of Richard Cooper (1704-1764) and consid­er his part in the formation of the Acadeim of St. Luke, in Edinburgh in 1729. This paper will be based on previously tin-published works bv Cooper in the National Gallery of Scotland and the City of Birmingham Art Gallery and the short account of the artist, published bv James Dennistoun in Memoirs of Sir Robert Strange. 1855. The teaching methods used in the Acadeim will be traced in the work of Cooper and his known pupils, Allan Ramsay. Sir Robert Strange and Andrew Bell. Other important figures possibly associated with Cooper and the Academy will be examined. Finally, it will be suggested that the painting The St. Martin's Lane Academy, discussed by Martin Pottle in Apollo (July 1991, pp.33-38) may be a depiction of the Academy of St. Luke. Peter Quinn (L niversity Of Sunderland): The Loral icademy This paper explores the problematic rela­tionship between the idea of the Academy and the formation of local institutions concerned with the development and trans­mission of artistic knowledge. Examining the conduct of several art institutions which existed in the North East of England during the 19th Century, this paper reviews the processes, systems and customs associated with the exhibition of art. the training of artists, and the formation ol the institutional economies of art in a period of rapid industrialisation and urbanisation. John Turpin (National College of Art and Design. Dublin): The Beginning of Line Art Education in Ireland This paper examines the formation and development of art education in Ireland between 1746. when Robert West estab­lished his private drawing school, and 1823, which marks the birth the Royal Hiberian Academy, established on the model of the RA in London. The paper explains the processes, practices and traditions within which art education was produced across a range of institutions. Rafael (Cardoso Denis (Escola Superior De Desenho Industrial. Rio De Janeiro. Brazil): Brazils Academia Imperial de Belas Artes and the Extension of Academicism in the ll)th Century Brazil's Academia Imperial de Belas Aries (A1BA) is. undoubtedly one of the most important extensions of academic instruc­tion in the New World. However, little is generalK known about it outside Brazil: and certainly no attempt has vet been made to situate it in the context of academies and academicism as a cultural phenomenon of international dimensions. Tin- present paper aims to discuss AIBA's role not only as an influential agent in the formation of a particular idea of culture within Brazil but also as an expression of the larger 'academ­ic svstem". examining similarities and differences in the hope that a greater aware­ness of the geographical fringes will help enhance our understanding of the phenome­non as a whole. It will be argued that the historical role of the Academy in Brazil cannot be understood simply as an expres­sion of colonialism: more complex issues of identification and identity are at stake. Kathy McLauchlan (Courtauld Institute): The Academy in Home and the Religion of Art This paper , which examines the symbolic economy of the Roman Acadeim at a moment when academic discourses and commercial practices were often entwined, asks: what institutional values were at stake in the relationship between the Academy in Rome and the French Academy? W hat form of rhetoric was deployed to assert the cultural value of The \ ilia Medici'.' How was Rome seen from the perspective of Paris'.' \\ hat customs, practices and traditions were legitimated in and through this specific institutional relationship? Kay Brauer (The University of New South Wales): I n Art d'Etat? Academicism in the Radical llepahlie As radicalising the Republic required a democratisation of culture in which egali­tarianism could flourish, the time seemed ripe for cultural pluralism, including independent modernist art practices, to burgeon. Despite this, a monopoly on cultural legitimation prevailed throughout the Radical Republic (in France from 1901 to 1914) whereby an academic ortodox) was promulgated, without ever seeming to be so. The revolt at the Artistes Francais in 1901 revealed how this supposedly self-regulat­ing, universal suffrage Salon, embodying die end in a battle of control over the Aeadeny's monopoly of the official exhibition system, was manipulated bv a coterie of Academicians. This paper will examine the network of independencies between the Institut. the official Salons, the State Secretariat, the Councils and the Ecole in which Academicism - not Modernism - became un Art d'Etat in the Radical Republic. ACADEMIC SESSIONS Q Performance and the Performative Q Landscape, Space and Gender QQ Patronage in German Art 1870—1945 The Making of the Illuminated Manuscript Book Q Producing the Past: Aspects of Antiquarian Culture and Practice 1600-1850 Q Plan/Non-Plan in 20th Century Architecture Q Spanish Art and its Regulators Q Ars Longa? The Trouble with Public Art Q The Museum anil its Metaphors The Renaissance Fork: European Decorative Arts c. 1300-1600 and their Display Feminising the Framework (£)^ Architecture and Language British Portraiture: Structures and Practices (J) Patronage at the European Courts c. 1500-1800 Words from Images: The Vocabulary of British Art Criticism c. 1550—1850 ^ The Legacies of Surrealism ^ Academies of Art and the Transmission of Artistic Knowledge ACADEMIC CONVENERS: Susie Nash and John House Designed and produced by Pep Sata • Communication & Design Art Director Pep Sala