CONFERENCE PROGRAMME • BOOK FAIR CATALOGUE OLD/NEW? CONFERENCE PROGRAMME • BOOK FAIR CATALOGUE Association of Art Historians 30th Annual Conference IN The University of \n Historians 1 -3 APRIL 2004 1^ Nottingham Foreword O n behalf of the Association of Art Historians and the University of Nottingham, we would like to welcome you to the 30th Annual Conference of the Association of Art Historians. This is the first time that this event has been hosted here and we feel that Nottingham offers the perfect location for a celebration of the Association's achievements in the past 30 years, as well as a look ahead at many more exciting years to come. The 20 academic sessions offer wide-ranging responses to the conference title of OLD/NEW?, embracing a variety of historical and theoretical approaches , specialist and inter-disciplinary studies, thematic and period-based perspectives. Sessions range from a consideration of medieval and Renaissance practices to an investigation of 'failure', and we are particularly pleased with the inclusion of a Student Session at this year's conference. The Student Session focuses on showcasing the very best in the work of new scholars, while other sessions include presentations by the more established, or dare we say, 'old', hands. The academic programme is complemented by exhibitions on the old and new, on the University of Nottingham campus and in the city of Nottingham. The two venues for the receptions, the Djanogly Art Gallery and the Angel Row Gallery offer two very different exhibitions for delegates to attend. The happy conjunction of shows on Florentine sixteenth-century drawings and an exploration of strategies of display in the contemporary gallery space will hopefully enrich the discussions emerging from the sessions and plenary. Enjoy your conference! GABRIELE NEHER Conference Organiser and Academic Convenor MELISSA PAGE Conference Administrator and Book Fair Organiser Acknowledgements W e would like to thank the many individuals who have made the conference possible in more ways than we can enumerate. At the University of Nottingham, the conference would not have been possible without the support of the Department of Art History, and especially, that of Fintan Cullen. Margaret Boyd and Jonathan Payne also offered their time and expertise. Susannah Shaw and Shelley Hammond from the conference office have lived with this conference for almost as long as we have and deserve our gratitude for their patient fielding of countless questions. Bill Vickers offered much-needed technical support and generously shared his audio-visual tricks of the trade with the student helpers. Lakeside Arts Centre at the University is an institution within itself, and not only is the Department of Art History in the privileged position of sharing the same space with the Djanogly Gallery, but this physical proximity brought about a happy working relationship which has culminated in the organisation of a splendid reception and private view of Graceful and True. Our particular thanks go to Shona Powell, Sofia Nazar, Neil Walker, and especially Tracey Isgar for their time. We have also incurred debts of gratitude to institutions in the City of Nottingham, and none more so than Angel Row Gallery. Helen Jones and Cathryn Rowley gave unstintingly of their time in making Thursday's reception possible. No conference is complete without a plenary, and here we would like to thank Deborah Cherry and Neil Cummings for their invaluable contributions. We have been fortunate in attracting sponsorship for the plenary and the receptions, and would like to thank Manchester University Press, Blackwell Publishing and Laurence King Publishing for their generous support, and in particular their representatives, Ben Stebbing, Rachael Street and Laura Willis. Shane Worthing designed the logo of the conference, and Jannet King designed and edited the conference literature. Mike Bowering patiently took all our ever-changing needs for the Book Fair in his stride. We have also incurred many debts of gratitude to the Executive Committee of the AAH and wish both the outgoing chair, Shearer West, and the incoming chair, Colin Cruise, well in shaping the fortunes of the Association over the next 30 years! Our most invaluable source of support, though, has been provided by Claire Davies, the AAH administrator, who was as adept at dealing with bookings as at organising tablecloths. Particular thanks go to our student helpers, and their able co-ordinators, Rosy Aindow and Graham Shaw. Elaine Shawyer undertook the onerous task of pre-conference administration. Our personal thanks go also to Nick Thomas, Olivia and Simon Child. Finally, we offer our sincere thanks to all of those people who offered to convene strands, chair panels, give papers or organise visits. GABRIELE NEHER Conference Organiser and Academic Convenor MELISSA PAGE Conference Administrator and Book Fair Organiser Published in 2004 by the Association of Art Historians. 70 Cowcross Street, London EC1M 6EJ Designed and laid out by Jannet King Printed by The Print House. Brighton Contents General information 6 Forums, Plenary and Receptions 8 Association of Art Historians 9 Timetable 10 1 Visual Representation and the Politics of Memory 15 SIMON FAULKNER 2 Art, History and Memory in Post-War Eastern and Central Europe 19 DEBORAH SCHULTZ & DAVID CROWLEY 3 Past, Present, Future? 25 GEN DOY 4 Interventions/Intersections: The Future of Feminist Art, Histories and Critique 27 PENNY FLORENCE & MARSHA MESKIMMON 5 The Shattering of Old Law-Tables? Old/New Tension in fin-de-siecle Vienna 30 GEMMA BLACKSHAW 6 Now and Then: Feminism: Art: History 33 GRISELDA POLLOCK & ALISON ROWLEY 7 Queering the Archive 34 GAVIN BUTT & RICHARD MEYER 8 sculpture/city/architecture/museum 37 STEVEN GARTSIDE & SAM GATHERCOLE 9 Failure 40 GAVIN PARKINSON & SARAH MONKS 10 Houses ­ Old & New 44 JAMES LINDOW 11 Histories of Gender: New Femininities and Modern Identities 47 MEAGHAN CLARKE & SARAH CHEANG 12 Dematerialization: The Entry into Post-modernity 50 JONATHAN VICKERY & DIARMUID COSTELLO 13 Medieval and Renaissance Art and The Question of Innovation 55 VICTORIA MIER 14 New Historiographies of Irish Art: Theoretical Innovations and Re-readings 60 SUZANNA CHAN & HILARY ROBINSON 15 Student Session 63 PATRICIA ALLMER 16 Endgames: Arts and Rituals of Victory and Surrender 67 MARGIT TH0FNER & ANGELA WEIGHT 1 7 Choices and Change in Exhibitions 69 JULIAN BROOKS & CAROLINE CAMPBELL 18 Old and New Sensations: Engaging the Senses in Early Modern Culture 71 ALICE SANGER & Siv TOVE KULBRANDSTAD WALKER 19 Old/New: Thirty Years of Italian Trecento Studies 73 LOUISE BOURDUA 20 Old Art and New Technologies 74 RUPERT SHEPHERD Book Fair Catalogue 7 7 REGISTRATION Pope Building (27 on the campus map) LUNCH AND REFRESHMENTS BOOK FAIR a. A IQ AT A Pope Building Al 3, Al 4 STUDENT ASSISTANTS CONFERENCE EXHIBITION Pope Buildina Al 3/A14 HALLS OF RESIDENCE General information From 09.00 on Thursday, Friday and Saturday. There are two registration desks, divided alphabetically: Room A13: delegates with family name A -L Room A14: delegates with family name M -Z Space will be available for delegates to store their luggage in Pope Building A22 on Thursday and Saturday. There will be no cloakroom available on Friday. Tea and coffee will be served in the morning and afternoon on Thursday, Friday and Saturday in Pope Building A13 and A14. Packed lunches will be available from the same place on Thursday, Friday and Saturday. Cafe L in the Lakeside Arts Centre is open: weekday and Saturday 09.00 - 16.30, serving hot food and salads 12.00- 14.30. On Sunday, Cafe L is open from 14.00 - 17.00 (Tel: 0115 951 3101) Aqua Bistro, in the D.H. Lawrence Pavilion, is open weekdays: for hot lunches 12.00 - 14.30, and for supper 17.00 - 19.00 Tel: 0115 846 7179 (booking is strongly recommended) open: Thursdc Thursday & Friday: 09.00-17.00 Saturdc nnnn Saturday: 09.00- 16.30 i^on See back of book for publisher details. Student Assistants will be on hand throughout the the conference to provide information, directions and technical assistance, They will be wearing bright red OLD/NEW? conference T-shirts. During refreshment breaks, the Book Fair space in A13/A14 will be usecl for Presentations o n a number of digital resources aimed at an art-historical audience. Please refer to session 20 Old Art and New Technologies for details of the projects showcased. University accommodation has been made available in two Halls of Residence in University Park Campus: Hugh Stewart Hall and Cavendish Hall. Both are within walking distance of the conference venue, so delegates must make their own way from the conference to halls each day. The bar in Hugh Stewart will be open (for residents only) as follows: Thursday 19.30-23.00 Friday 19.30 - midnight VISITS USEFUL TELEPHONE NUMBERS Unfortunately, due to poor demand, the visits to Newstead Abbey, Southwell Minster, and the walking tour of Nottingham have had to be cancelled. Suggestions for alternative visits focus on the campus and the city of Nottingham. They include: Nottingham Castle, off Maid Marian Way, Nottingham, NG1 6EL Public enquiries: 0115 915 3700 or Opening times: daily 10.00- 17.00; weekdays admission free, weekends and Bank Holidays Adults £2, Concessions £1. Thursday 1 April, 11.00 - 12.00: Tour of the Print Room at Nottingham Castle. The keeper of Fine Arts, Sarah Skinner, will show highlights of the Castle's print collections. On arrival at the Castle, please apply to the desk in castle shop. The Possibilities of Architecture - Exhibition showing in Nottingham Castle during the conference featuring the imagination and ingenuity of ARCHIGRAM, the British architects whose dynamic and provocative vision of future life brought the pop spirit to the architectural avant-garde in 1960s Britain. Vibrant, playful and optimistic, the visionary architectural projects presented by ARCHIGRAM, played an important role in 1960s pop culture and have an enduring influence on architecture today. Their futuristic designs and space-age imagery created a vision of how we might live in a future world. Angel Row Gallery, Central Library Building, 3 Angel Row, Nottingham NG1 6HP: EXP021: Strategies of Display, open 10.00- 17.00, admission free. Djanogly Art Gallery, Lakeside Arts Centre, University of Nottingham, Graceful and True. Drawing in Florence c. 1600 open 11.00 - 17.00, admission free. The Djanogly Gallery is also holding a sale of past exhibition catalogues. Delegates can purchase crafts from the display cabinets. Weston Gallery, D H Lawrence Pavilion, Lakeside Arts Centre: The Bawdy Court. Views of Community Life in 16th-and 17th-Century Nottinghamshire, open 11.00 - 16.00 admission free. University of Nottingham Central Switchboard - 0115 951 5151 Hugh Stewart Hall Secretary - 0115 951 4655 Cavendish Hall Secretary - 0115 951 3434 Train Enquiries - 0845 48 49 50 Taxis: Nottingham Cars - 0115 970 0700 Cable Cars - 0115 922 9229 Trent Cars - 0115 950 5050 or 950 0400 Forums and Plenary FORUM THURSDAY: 12.30 Pope Building, room CI5 OPENING PLENARY THURSDAY: 16.30-18.00 Pope Building, room CI 6 Sponsored by Manchester University Press FORUM FRIDAY: 15.45-16.30 Pope Building, room A25 COPYRIGHT LICENSING Steve Void, Director of Operations at DACS (Design and Artists Copyright Society) will give a short talk and answer questions. NEIL CUMMINGS: A Joy Forever (and its price in the market) Introduction by Professor Deborah Cherry Neil Cummings is Artist and Reader in Theory and Practice at Chelsea College of Art and Design. This talk will describe a series of collaborations with Marysia Lewandowska - collaborations that have moved our practice away from the production of objects as art, and closer to a research-driven or 'interventionist' way of working. We have been interested in thinking about, and working alongside, many of the cultural institutions that designate and mediate art - and the increasingly devolving experience of art - to their public. This has led to projects with various galleries (public and commercial), museums, art schools, department stores, advertising agencies, publishers and independent commissioning agencies. We have made exhibitions with collections of objects and paintings, such as Free Trade at the Manchester Art Gallery (2003), and Capital, an installation and series of events at Tate Modern and the Bank of England Museum (2001). We have researched and produced books, such as The Value of Things, which traces the development of the public museum, and Department Store (2001), and created an exhibition, publication and internet browser as part of Documents, a year-long residency at the Design Council Archive (2000). See also: MEET THE EDITORS OF ART HISTORY Deborah Cherry and Fintan Cullen, will be available to meet delegates interested in discussing submissions to the journal. WELCOMING RECEPTION THURSDAY: 11.00 - 12.30 Angear Visitors Centre, Lakeside Arts Centre ANGEL ROW GALLERY RECEPTION THURSDAY: 18.30 - 20.00 Sponsored by Laurence King Publishing DJANOGLY ART GALLERY RECEPTION FRIDAY: 18.00-19.30 Sponsored by Blackwell Publishing. CONFERENCE DINNER FRIDAY: 20.00 ONWARDS STUDENT DINNER FRIDAY: 20.30 ONWARDS AAH AGM SATURDAY- 11 30 - 13 00 POPE BUILDING, C I 5 SPECIAL INTEREST GROUP MEETINGS FRIDAY: 16.30-17. 45 Receptions The Department of Art History and Nottingham Institute for Research of Visual Culture (NIRV) cordially welcome you to the conference Buses will pick delegates up from Science Road at 18.00, and leave at 18.15. For security reasons, numbers are limited for this event, so admission is strictly by ticket only. PLEASE BE SURE TO PICK UP AN INVITATION FOR THIS EVENT AT THE TIME OF REGISTRATION. During the Reception the John Fleming Travel Award will be presented by Laurence King, Managing Director of Laurence King Publishing Ltd. The gallery is located in the Lakeside Arts Centre, on the university campus. Pre-booked at additional cost, at Hugh Stewart Dinning Room, with string quartet accompaniment. The Student Members Group is organising alternative dinner arrangements for student delegates on Friday evening at a tapas restaurant. For more information please go to the SMG desk. Association of Art Historians Delegates wishing to join/enquire about joining the AAH will be able to do so at the Registration desks. If you require more information in the future please contact: AAH Administrator, 70 CowcrossSt, London EC1M 6EJ Tel. 020 7490 3211; Or visit the website at Th e AGM of the Association of Art Historians is open to all members, whether delegates at the conference or not. Independents Members Group - Pope Building A2 Please attend to meet and confirm the nomination of the incoming Independents Chair, Frances Follin, make contact with one another, share work and research experiences and sustain the important social dimension of the Independents Students Members Group - Postgraduate Funding Forum - Pope Building C I 5. This will give students the opportunity to find out about available sources of finance and to ask questions and share information with their peers. Panel 1loom 1 Visual Representation and the Politics of Memory (Bootes C35 SIMON FAULKNER 2 Art, History and Memory in Post-war Eastern & Doates C27 Central Europe - DEBORAH SCHULTZ & DAVID CROWLEY 3 Past, Present, Future Coates A3 GEN DOY 4 Interventions/Intersections Coates Al PENNY FLORENCE & MARSHA MESKIMMON 5 Old/New Tension in Fin-de-Siecle Vienna Coates CI 3 GEMMA BLACKSHAW 6 Now and Then: Feminism: Art: History GRISELDA POLLOCK & ALISON ROWLEY 7 Queering the Archive Pope C1 9 GAVIN Bun & RICHARD MEYER 8 sculpture/city/architecture/museum Pope C17 STEVEN GARTSIDE & SAM GATHERCOLE 9 Failure Pope C1 5 GAVIN PARKINSON & SARAH MONKS 10 Houses - Old & New Coates C14 JAMES LINDOW 11 Histories of Gender: New Femininities and Modern Pope A2 Identities - MEAGHAN CLARKE & SARAH CHEANG 12 Dematerialization Pope CI6 JONATHAN VICKERY & DIARMUID COSTELLO 13 Medieval and Renaissance Art and the Question of Pope A25 Innovation - VICTORIA MlER 14 New Historiographies of Irish Art Pope A23 SUZANNA CHAN & HILARY ROBINSON 15 The Student Session Coates C24 PATRICIA ALLMER & VERONICA DAVIES 16 Endgames: Arts and Rituals of Victory and Surrender Coates C29 MARGIT TH0FNER & ANGELA WEIGHT 17 Choices and Change in Exhibitions Arts Centre JULIAN BROOKS & CAROLINE CAMPBELL A21a 18 Old and New Sensations: Engaging the Senses Pope A21 ALICE SANGER & Siv TOVE KULBRANDSTAD WALKER 19 Old/New. Thirty years of Italian Trecento Studies Pope A22 LOUISE BOURDUA 20 Old Art and New Technologies I Pope Al 3/ RUPERT SHEPHERD A1 4 10 CHURSDAY 1'HURSDAY 14.00 -14.45 4.45-15.30 \NDREW STEPHENSON: I/ALERIA SALGUERO: ^alimpsestic 1iistory and Culture Dromenades i nto Allegory ^NA MIUACKI: The ~ARMEN POPESCU: A Second World Denied Continuity GAVIN PARKINSON: In ISABELLE MOFFAT: The Failance of (Marcel Opposite of FailureDuchampj KATHRYN BROWN: KlMBERLEY MORSE JONES Imagining Elizabeth Robins Modernity Pennell KATERINA REED-KIRSTIE SKINNER: The TSOCHA: De-Aestheti-'Pleasure of Percep­ cization at Last? tion ' in Serial Art HILARY ROBINSON: MICK WILSON: Why I Intro & Contextual Would you be Against Discussion \ the Poor Oul Oirish? VICTORIA CARRUTHERS: TERRI GEIS: Voyage to Meeting in the fhe Land of Speaking 'Middle Distance' Blood 13.40-13.50 15.35-15.45 RUPERT SHEPHERD: The TIM AYERS: The Corpus | Ruskin Project Vitrearum Medii Aevi r­ : FRIDAY FRIDAY 1:RIDAY 1"RIDAY 1 RIDAY :RIDAY 1 9.30-10.15 DEBORAH SUGG | RYAN: Visualizing Memories SUSAN REID: Representing Past 1 and Presence PATRICIA ALLMER: Traditional Perspectives REBEKKA KILL: The Axis of the Personal CLAUDE CERNUSCHI: Carl Schorske's Vienna KELLY DENNIS: The •Other' Other Victorians NINA GULICHERL: The Fiction of Sculpture's Autonomy CAROL JACOBI: 'Colossally Bad at An" KEVIN MURPHY: Arranging Household Objects FAE BRAUER: j Femhehg Muscle MATTHEW RAMPLEY: Jack Burnham LISA WADE: Horror ; in Context CHRISTINA-MARIA LERM-HAYES: Island : Thought CHARLOTTE ASHBY: Fmish Architecture 11895-1915) JOHN MITCHELL: Blackened Epitaphs ELIZABETH PERGAM: Britain's First Blockbuster AUCE SANGER: The Relic in Post-Thdentine Italy DIANA NORMAN: Redefining Duccio 10.15-11.00 iOJANA VIDEKANIC: maging Ideology PIOTR PIOTROWSKI: TO Censor Crucifixion RONALD BERNIER: Ageing the Present ADELE ERNSTROM: Writing In and Writing Out TAG GRONBERG: Viennese Modernism ARA H. MERIJAN: W Canto Segrefo PAULINE ROSE: Henry Moore in Dallas JOANNE LEE: Failing to Fail? PAULA HOHTI: Beyond the Palace FRANCESCA BERRY: Designing Femininities GAIL DAY: Vicissitudes of Negation JENNY GRAHAM: The 'Raphael of Flanders' PAULA MURPHY: The Dramatic Worid of fhe fish Woman Sculptor JOEL ROBINSON: Mortal Fragments: Post-War Architecture MARGIT THOFNER: Taking Antwerp EVDOXIA BANIOTOPOULOU: Totally Regenerated? PHILLIPPA PLOCK: Early Modern Feminine Touching-Look ROBERT GIBBS: Illuminating the Trecento 11.05-11.15 DOUGLAS DODDS: ARLIS.NET 11.45-12.30 >UE MALVERN: The City, he Monument, the /oice ^LINA SERBAN: Memory j and Ideological Distortion KRISTEN HUTCHINSON: ?emembering the Past in the Present MARIANGELES SOTO-DIAZ: Mistress of Abstraction JOHN COLLINS: The Good, The Bad and The Ugly CAROLINE A . JONES: Regulating the Queer Laocodn ALEX POTTS: The Public Value of Incongruity SARA COCHRAN: Painting Badly Well GlORGlA MANCINI: From One Palace to Another PAMELA GERRISH-NUNN: The Woman of Today DAVID GREEN: Between Mind and Body SUSAN STEER: Venetian Renaissance Commissioners FINTAN CULLEN: The Portrait Today DAWN PEREIRA: Role of the Artist in the LCC's 'Patronage of the Arts' CORDULA VAN WHYE: The Siege of Breda and its Propagation JULIAN BROOKS: THE Making of Graceful and True Siv KULBRANDSTAD WALKER: A Tavola! LAURA JACOBUS: 21st­ Century Giotto 12.30-13.15 3. ASCHER-BARNSTONE: rransparency, Collective Memory K. MURAWSKA­MUTHESIUS: Trauma of Aesthetic Castration' MARK GODFREY: Beryi Korof'S Dacau 1974 KAREN VON WEH: (Re)­Imaging the Body ALEXANDRA KARL: Darwin's Menagerie? CHARLOTTE HOUGHTON: Isn't John Divine? SAM GATHERCOLE: From Eternity to Here MICHAEL R TAYLOR: Doomed to Failure? ESTHER MUENZBERG: A New Type of House JOANNE HEATH: The New Woman as Old Woman JOANNA LOWRY: Playing with Time IAN HOLGATE: Antonio Vivarini and Giovani d'Alemagna KENNETH MCCONKEY: Politics and that Girl STELLA VIUOEN: Gentlemen's Pornography JOCHAI ROSEN: Cruel Officers and Begging Hostages CHRISTINE RIDING: Designing Exhibitions CHRISTA GROSSINGER: The Smell Below the Belt i ANNE DUNLOP: Trecentc Studies and Secular Art 13.30-13.40 JAYNE EVERARD: Artifact 14.15-15.00 JTEVEN ADAMS: Switzerland as a Site j of Politics and Desire R. RITTER: Permanent Reconstruction of Collective Memories MARION ARNOLD: The Bad Old Days and fhe New S. Africa SUSAN BEST: Theresa Hak Kyung Cha JULIE M JOHNSON: Theatres and Insane Asylums MATTHEW E TETI: Sexuality in Flux GILLIAN WHITELEY: A Sculpture of Possibility J o APPLIN: Bound to Fail? LUCIA WORSLEY: The Duke of Newcastle's 'New Castle' KRISTINA HUNEAULT: Whose Name at Stake? TIM MARTIN: Rematerialiizing Robert Smithson VICTORIA MIER: Martin Schonbauer, Albrecht Durer CHERIE DRIVER: Extraordinary Spaces in Irish Art MATILDE NARDELL: The Cinematic Cut NATASHA EATON: Coercion in the Gift I CAROLINE CAMPBELL: 'Door-stops', Blockbusters CATHERINE LAWLESS: Saints and their Senses 1 Roundtable 15.00-15.45 JICHARD TAWS: "rrompe-l'oeil and rrauma ANDRES KURG: Spaces of Non- Official Art C . BENINCASA: Has Art History Had its Day? DOROTHY ROWE: Out There JANET STEWART: Cafe Nihilismus'? JEAN WAINWRIGHT: a.a novel AMELIA JONES: fPosf] Urban Navigations STEPHEN BROWN: Physical Energy & Pheidan Exhaustion — . KATE RETFORD: 'SO Fine a Series of Portraits' NINA LAGER VESTBERG: The Independent Woman ALISTAIR RIDER: 'Lack of Charisma : can be Fatal' SlBYLLE GLUCH: Albrecht Durer 1 ' SUZANNA CHAN: A Question of Otherness? ELEANOR FRASER STANSBIE: Richard Dada GREG THOMAS: Looting Empires CORDELIA WARR: Rejecting the Image Roundtable 15.50-16.00 MATTHEW ADDIS: SCULPTEUR .30-10.15 0.15-11.00 IONNA BARBER: 1 Visual Representation and the Politics of Memory JCHARLES MILLER:'Mad' ' Doates C35Manna O'Kelly's Memorials ' SIMON FAULKNER OTctuar/AVastetand 3 EVANS: BRECHT, Muller NIKOLAI VOUKOV: 2 Art, History and Memory in Post-war Eastern &. Coates C27 3nd a Spectre 1Monument BuildingCentral Europe - DEBORAH SCHULTZ & DAVID CROWLEY .eaving Europe In Socialist Bulgaria 3 Past, Present, Future GEN DOY 4 Interventions/Intersections PENNY FLORENCE & MARSHA MESKIMMON 5 Old/New Tension in Fin-de-Siecle Vienna GEMMA BLACKSH AW 6 Now and Then: Feminism: Art: History Pope CI 8 Roundtable Roundtable GRISELDA POLLOCK & ALISON ROWLEY ROYCE VV. SMITH: 7 Queering the Archive ALEX KENNEDY: A Love Pope CI9 Distortion as GAVIN Bun & RICHARD MEYER Letter to Jasper Johns Documentation 8 sculpture/city/architecture/museum HELEN E BEALE: The STEVEN GARTSIDE: Pope CI 7 STEVEN GARTSIDE & SAM GATHERCOLE Spaces of Lyon Fabricating Spaces MATTHEW PLAMPIN: 9 Failure MELISSA MCQUILLAN: Pope CI 5 There's Nowt Here But Nobody Came GAVIN PARKINSON & SARAH MONKS Pictures' 10 Houses - Old & New JAMES LINDOW 11 Histories of Gender: New Femininities and Modern Identities - MEAGHAN CLARKE & SARAH CHEAN G 12 Dematerialization JONATHAN VICKERY & DIARMUID COSTELLO Pope CI6 GORDON HUGHES: 'Lack of Charisma can be Fatal' THOMAS LANGE: Palermo, Post-mod­. ernism and the Eye 13 Medieval and Renaissance Art and the Question of Innovation ­ VICTORIA MlER Pope A25 HELEN GEDDES:della QuerciaScultore tacopo Sanese AGNIESZKA STECZOWICZ: Nuova Imitazione 14 New Historiographies of Irish Art SUZANNA CHAN & HILARY ROBINSON Pope A23 DAVID KEITH: BELFAST: /mages of Social : History an d Culture RIANN COULTER: REGIONALISM; The i Last Chance 15 The Student Session PATRICIA ALLMER & VERONICA DAVIES Coates C24 MAN YEE SANDY NG: \ The Work of Lin Fengmian JOY PATTERSON: Circles, Squares, and Erasures 16 Endgames: Arts and Rituals of Victory and Surrender MARGIT TH0FNER & ANGELA WEIGHT 17 Choices and Change in Exhibitions JULIAN BROOKS & CAROLINE CAMPBELL 18 Old and New Sensations: Engaging the Senses ALICE SANGER & Siv TOVE KULBRANDSTAD WALKER 19 Old/New: Thirty years of Italian Trecento Studies LOUISE BOURDUA 20 Old Art and New Technologies Pope A13/ 11.04-11.14 A14 POLLY CHRISTIE: RUPERT SHEPHERD 12 SATURDAY !SATURDAY 5SATURDAY 11.30-13.00 14.00-14.45 jl 4.45-15.30 SABRIEL KOUREAS: iRENDA MOORE-MCCANN: Remembering 1 Forgetting Psychology of Self & Place j( Zolonial Wars Roundtable Roundtable IHin O D) DUI Q­ ing Roundtable Roundtable HELGE MOOSHAMMER: 'by car Roundtable and on foot at night...' E AUGUST DAVIS: In the Place of TAIJI MIYASAKA: Revealing s wel< the Public Materials TERRI WEISSMAN: Failure as MARK RAWLINSON: Adorno: On History the Necessity of Failure 0) 13 0) E MICHAEL CORRIS: INES GOLDBACH: The Museum Conversational Aesthetics 1 JANE MACAVOCK: Jean Daret, IRENE WILKINSON: Hieronymus 1 A Seventeenth-Century Artist Bosch -Visions of Belief < < 13.15-13.2 5 15.35-15.4 5 GABRIELA SALGADO: KENNETH QUICKENDEN: Latin American Art Contemporary Jewellery Visual Representation and the Politics of Memory SIMON FAULKNER Manchester Metropolitan University rultural memory has become a significant subject within the humanities during the last decade. Studies of cultural memory produced by academics working in a range of fields have explored how particular constructions of the past have been mobilized within contemporary politics. Within such studies, cultural memory is understood to be structured by relationships between the past and the present, through which the representation of the past gives meaning to contemporary actions. This makes memory a powerful political tool. As Edward Said has observed: 'Memory and its representations touch very significantly upon questions of identity, of nationalism, of power and authority.' This session will focus upon the use of visual images and practices within collective constructions of the past. The session aims to explore the ways in which visual representations contribute to the production of the simplified and usable pasts essential to the formation of cultural memories. ANDREW STEPHENSON University of East London Palimpsestic Promenades: Memorial Environments and the Urban consumption of Space in post-1918 London VALERIA SALGUEIRO Universidade Federal Fluminense History and Culture into Allegory: Shaping National Identity in Brazil's First Republic (1889-1930) DEBORAH SUGG RYAN University of Ulster Visualizing Memories: Frank Lascelles' 1907 Oxford Historical Pageant T he end of the Great War on 11 November 1918 marked out not only a turning point in British, European and Imperial history for the nations involved in the war, but it was also distinguished by changes in attitudes towards memorialization and commemoration. Given the scale of the casualties incurred, the return to earlier pre-war funereal traditions, mourning practices and memorial formats seemed outmoded and irrelevant to many post-war commentators. What was needed were updated forms of public ritual and war memorial that registered the huge sacrifice of and enormous respect for the dead, but which also provided for modernized ways in which private memory and grief could publicly transform these urban sites into places of public commemoration, national pilgrimage and mass participation. Examining central London as the focus of my discussion, particularly the major state memorials of the Cenotaph in Whitehall and the Tomb of the Unknown Warrior in Westminster Abbey, my aim is to analyse competing and conflicting attitudes towards the transformation of urban spaces by memorial sculpture and by commemorative ceremonies in the years from 1919-26. These post-war revisions in the spatial codes of sculptural monuments and in the imaginative narratives of memory, nationhood and self intertwined in commemorative performances will be investigated. My paper will also re-evaluate how these modern cultural landscapes re-choreographed earlier spatial environments, and how, in attempting to make post-war memorial avenues 'visible' and politically 'meaningful', they simultaneously left them open to re-inscription by personal memories and sexual desires. B razil's republican regime started in 1889 with a great expectation for social change and modernization, and the sculptural decoration of several public buildings from this time may be seen as a visual manifestation of the emerging mentality and renewed values in the cultural field. The work looks at one example of Brazilian republican architecture in Rio de Janeiro - the Pedro Ernesto Palace, with its two small towers surrounded by female and male allegories. The text relates the architectural sculptures ornamenting its facade to the official mentality backing the palace's commission in the 1920s. It first presents and describes each of its eight life- size allegories, thereafter discussing the issue of architecture and art as a text on national identity, and their role in building a national visual culture. In fact, by an inspection of the allegorical sculptures, as well as reflecting on ttie meanings they convey, one is immediately stricken by their rhetorical power and responsiveness to the new regime's effort for forging a visual identity demarcating the republican time from ttie Portuguese past, at tfie same time attempting to conveying an image of a democratic and republican society. n 1907 a wave of 'pageantitis' swept across Britain. At least seven events were inspired by the success of the previous year's Sherborne Historical Pageant, produced by Louis Napoleon Parker. Staged outdoors, preferably in a place of historical interest, pageants told the history of places in a series of episodes. Crucial to 'their success was the participation of the general public as actors - or pageanteers - in huge numbers. Relying on visual spectacle, rattier than the spoken word, pageants were a popular and influential form of early twentieth-century visual culture that constructed public memories. Visual Representation and the Politics of Memory BOJANA VlDEKANIC Imaging Ideology: Diaspora andNationalism in Cvbersnace SUE MALVERN University of Reading The City, the Monument, the Void: the Memoryscape of Vienna 1945-2000 DEBORAH ASCHER BARNSTONE Washington State University Transparency, Collective Memory and the Visual Representation of West Germany after 1945 In 1907 Frank Lascelles, a professional actor, artist and Oxford graduate, staged the Oxford Historical Pageant. This paper investigates the ways in which Lascelles and his pageant negotiated competing and conflicting memories of 'town and gown' in Oxford's past. It also considers the formation of national and imperial identities. In so doing, it pays particular attention to the formation of memories and meanings by both the pageant's local participants and its international audience. By demonstrating the enormous influence the Oxford pageant had on the development of the genre in both Britain ana the United States, this paper challenges and revises the historiography of the modern pageant. 1 mages are powerful emitters of meanings. We live in a visual world in which I images often influence our decisions and viewpoints. This paper will deal with the problematic of representation in the context of diasporic nationalist ideology. I will a t ttlree '°°'< nationalist websites created and maintained by the members of the Croatian diaspora living in Canada. It will be argued that diaspora nationalists construct their identity by employing specific visual signs and thus create an extremist aesthetic which displays their ideas about Croatian national supremacy, patriarchal values and right-wing politics. Websites discussed become territories in which symbolizations carried by the visual sign break through the barriers of the virtual space of the Internet, re-enter social relations and become actualized through the actions of the people in the community. Images are mimicked and re­ asserted in the 'real' life as members of diaspora engage with ideology through communal relationships. I argue that the visual sign becomes the embodiment of the national territory that needs to be protected. All of this happens in an ephemeral and easily accessible space of the Internet where it is easy to combine myth with reality, past with the present. Digital technology is used to bring a fictitious memory to life. By looking at the images (photographs, illustrations, posters, paintings ana drawings) of the leader - Ante Pavelic - and the images of individual members of the community, I will consider the ways in which ideas around national identity, history and memory live through visual symbolizations. I argue that through a particular engagement with the image, diaspora nationalists create strange and very often frightening visual hybrids that need to be assessed if we want to understand and aadress the problematic of the nationalist ideology in the visual sphere. In conclusion, by investigating the use of the visual sign on the nationalist websites I will also deal with the auestions of nationality, patriotism, fascistic ideals and machismo. All of these issues are entwined with the ideas of fantasy, imaginary homeland ana various nationalist mythologies. Images/visual representations, in this case, exist to shape the memory of the members of the community. More importantly, images exist to shape the way that aiaspora people see the future in their native, as well as, their aaoptive country j n 1910, Adolf Loos wrote that 'Only a small part of architecture belongs to art: the tomb and the monument'. One way to read this would be to observe the uneasy status of the monument wavering between art and architecture, purposelessness and use. This paper takes Rachel Whiteread's Judenplatz Memorial, which is linked to a museum as part of the site's ensemble, and sets it within the context of revisions carried out to the memory-scape of Vienna since 1945.1 will argue that the placement of memorials, such as Whiteread's, always derive part of their meaning from the displacements they also enact. In this instance, displacements have occurred across three city centre locations, each aedicated to commemorating a difficult past - Albertinaplatz. Morzinplatz, the site of a number of memorials to 'Red Vienna' dating from 1951-85, and Judenplatz itself, where there was already a monument to Gotthold Lessing. Much has been made of Whitereaa's use of the void as a metaphor for loss but this paper will argue that emptiness or the void is a leitmotif of Austrian national iaentity, as though its mythological inventory is empty, with important implications for the reading of Europe's geo-political landscape since 1945. A series of transparent, glass and steel, buildings, whose aesthetic is clearly contemporary, were constructed after 1945 as a new visual representation of Germany and German government. These buildings promote the myth of the 'Zero Hou'r. the supposed break in German history between the Third Reich, Weimar, Wlhelmine and pre-Reich eras and the post-war period. Transparent architecture suggests a disconnection between West Germany and the past because it presents a stylistic opposite to the monumental, neo-classical architecture favoured by the Kaisers and by Hitler, but also because it embraces a political ideology that emerged and gathered force after World War II, an ideology that eauated transparent government with democracy. By adopting transparency. West German architects and politicians could respond to collective memories of the past with an optimistic new vision of Germany as modern, egalitarian, open, and democratic. STEVEN ADAMS University of Hertfordshire Visual Representation and the Politics of Memory: Switzerland as a Site of Politics and Desire in Post-Revolutionary France RICHARD TAWS University College London Trompe-l'oeil and Trauma: Negotiating the Memory of the Assignat in Revolutionary France CHARLES MILLER Courtauld Institute of Art, London 'Mad' memorials: Picasso's 1927 Apollinaire Monument Designs and the Politics of Commemoration Visual Representation and the Politics of Memory It is collective memory that is operating in this case, rather than historical memory, because it is the emotional and personal memory of the past that influences the choice of transparency, not the real, objective facts of history. As Maurice Halbwachs and others have shown, collective memory collates around historical reference points that have meaning to members of a specific group and conversely, these shared memories define the social identity of the group. Usually the events that spark collective memories are unusual and often they are traumatic. In the case of West and East Germany, collective memories of the Third Reich, Weimar Republic, the separation into two states, and East German totalitarianism are particularly strong even today, although the collective memories pertaining to these events have shifted in content and relative importance over time. Transparency has lasted because of its ability to respond to and to complement the ascendancy of one set of collective memories over that of another. It is the coincidental confluence of these different collective memories around transparency that best explains its ascendancy in post-war West Germany over any other state. For while transparent architecture enjoyed parallel popularity throughout Europe and the Western world contemporaneous with its rising popularity in Germany, nowhere else did it acquire the same associative meanings it did in West Germany. Only there, did transparency become an analogy for democracy and open and accessible government, an analogy so forceful and universally accepted that by the 1980s politicians demanded transparency in the Reichstag renovation even though the building was opaque. \ A / hen Napoleon terminated the French Revolution with the coup d'etat of V i 1799, citizens were able 'to breathe a sigh of relief. In practice. Napoleon's imposition of political order left many political hopes unfulfilled. While the ideals of liberty, fraternity etc. were hard to realize at home, sites abroad offered the chance to remember the Revolution on more optimistic terms. One such site was Switzerland. In this paper, I examine some of the ways in which visual representations of the Swiss landscape were used to reconstruct political memory. Concentrating on landscape imagery of the early nineteenth century, I show how Switzerland became the locus of a curiously historicized political fantasy. When moderates recalled the Revolution, they did so, I argue, through the construction of another time and another place: that moment just before things went awry, in that place whose very beauty was an aesthetic confirmation of its state of political grace. Switzerland thus became a heterochronic and heterotopic site, a place where, through the conduit of landscape imagery, one could submit oneself to the delirious pleasure of the view and access an unstained memory of a revolutionary ideal. I n February 1796, following a period of disastrous hyperinflation, millions of assignats i - the revolutionary paper currency issued in 1789 against the value of recently confiscated church and aristocratic land - were symbolically burned, along with the technology used for their production, in an iconoclastic public spectacle on the Place Vendome. Shortly afterwards bizarre trompe-l'oeil composite representations of assignats appeared incongruously in narrative print histories of the Revolution, and in a variety of other formats in the printshops of Directoire Paris. This paper examines the relationship between these images and the assignats they represent as a traumatic encounter with the revolutionary past, paying particular attention to the specific appropriateness of trompe-l'oeil to this task. The assignats themselves depended upon the memory of the re-nationalized land for which they stood, and it is via the notes themselves, and the conditions of their production, that I will seek to explain the rupture effected by their ritual destruction, and the contradictory politics of revolutionary commemoration. This will be considered in relation to a number of other cultural manifestations, from the development of a national archive, to the cult of revolutionary relics and the war against counterfeiting. P icasso's 1927 designs for the Apollinaire memorial shocked the leader of the monument Committee, Andre Billy, who rejected the perverse bodies of Carnet 015 as 'monstrous, mad, incomprehensible'. This paper identifies the aesthetic regime that underpins Billy's reaction and locates it in the posthumous controversy over Apollinaire's memory that ranged the monument Committee against the dada-surrealists. The Committee's commemorative practice discloses a nationalist politics that subordinates Apollinaire's cosmopolitan avant-gardism to his wartime classicism and military patriotism. By contrast, the dada-surrealist counter-narrative promotes Apollinaire's radical, irrational poetic at the expense of his belated conformism. Picasso's mock-monuments seem to spring from an anti-classical, surrealist standpoint that eschews reference to the war, apparently in antithesis to the image Visual Representation and the Politics of Memory of the classical French war hero that Billy preferred. Yet not only do these designs represent a return of the classical body's grotesgue other, and as such communicate with the ideal they debase, the prohibition they transgress, but they also condense the themes and anxieties of post-war remembrance and reconstruction to which Billy attempted to annex the monument. In the event, Picasso's strategy of parodic desublimation makes his phallic women mimic the fetishistic structure of the conservative portrait memorial that Billy intended for Apollinaire's grave. FIONNA BARBER Manchester Metropolitan University Alanna O'Kelly's Sanctuary/ Wasteland: Location, Memory and Hunger in Recent Irish Visual Culture BRENDA MOORE-MCCANN University of Dublin, Trinity College The Psychology of Self and Place in the Art of Patrick Ireland B loody Sunday (1972) is one of the events of the 'Troubles' in Northern Ireland that continues to cast a shadow on the politics of the present day. This paper presents the artistic response of the artist Patrick Ireland. Since 1972 his art has been linked to Bloody Sunday, in particular through a performance piece in which he changed his artist name from Brian O'Doherty to Patrick Ireland. The politicization of an artist's name is examined in terms of post-modern concepts of the artist as well as the performance's reception and role in cultural memory. The politics of memory ana perception, the psychology of place, time, the self, and language in the construction of identity, which form the armature of the piece, are discussed. The visual representation of cultural displacement in these terms, as opposea to traditional notions of territory, is also examined. O'Doherty/lreland, one of the pioneering generations of New York conceptualists, articulates from other perspectives the contingent nature of historical experience in installations like H-B/ock (1989), ana the colonization of language in One, Here, Now: The Ogham Cycle (1996). GABRIEL KOUREAS Birkbeck College Remembering / Forgetting Colonial Wars: The War of Independence in Cyprus and the construction of a national identity ho 1990s saw the emergence of a number of memorials commemorating the I Irish Famine (1845-49). The majority of these can be seen as part ofa national rhetoric of commemoration around the Famine's 150th anniversary, including the National Famine Memorial by John Behan (Murrisk, Co. Mayo 1997), and Rowan Gillespie's group sculpture Famine (Custom House Quay, Dublin, 1997). Margaret Kelleher has convincingly argued for the significance of location in determining the meanings of these works, which occupy prominent sites in two very different public spaces with strong Famine identifications (Kelleher 2002). As such, factors of location can be viewed as part of an official and authoritarian process of rehabilitation of the marginal and dispossessed peasantry within a post-colonialist Irish identity. These public monuments form the context fora closer examination of a further instance of Famine commemoration with a very different engagement with issues of location. The Irish artist Alanna O'Kelly's tape/slide installation Sanctuary/ Wasteland (1994, coll. Irish Museum of Modem Art, Dublin) suggests a more radical engagement with Famine trauma and loss as issues that continue to be marginalized and repressed within Irish culture. Although now existing as an installation within the confines of the art museum, O'Kelly's piece is indexically linked to a relatively unknown and inaccessible Famine site in County Mayo, which was the burial ground for many local victims. The time-based nature of Sanctuary/ Wasteland also invites comparison with the temporality of oral narrative, a form of remembrancing closely associated with the Famine, ana more particularly with the work's originary location. The installation's evocation of a repressed narrative, therefore, can be seen as opening upa potentially closer engagement with the major issues of loss ana trauma largely 'rehabilitated' by more official Famine monuments. This paper will examine the memory of colonial wars and the representation of such wars in the construction of national iaentities. By concentrating on the case of the colonial war of independence in Cyprus the paper will investigate the production of memory through various artifacts and in particular the museum space. The Museum of Struggle in Nicosia, Cyprus will be contrasted to the space devoted at the Imperial War Museum to the war on independence in Cyprus in order to discuss ways in which the contested memories of colonial wars serve as resistance identities for the ex-colonies. By contrast, the memory of colonial wars in Britain has to a very great extent been obscured and erased from the cultural lanOscape. The paper will Oiscuss the implications of such erasure in relation to the formation of social formations in Britain and Cyprus. Art, History and Memory in Post-War Eastern and Central Europe 2 DEBORAH SCHULTZ DAVID CROWLEY University of Sussex Royal College of Art, London T he past was highly politicized during the socialist period in Eastern/Central Europe. The force of History was invoked to legitimate authority. And 'collective memory' was activated to contest lies and distortions in the historical record. Memory and history were often counter-posed in what Havel described as the struggle to 'live in truth'. What role did art and architecture play in these processes? And how should this often tendentious art be considered today? By similar measure the historiography of the field needs to be re-examined. What was the relation of scholarship to authority? With currents of nationalism, nostalgia, lustration and triumphalism pulsing through post-communist societies, memory and history have been brought into new relations in the last dozen years. How the histories of art, architecture and design of the socialist period are written continues to be an ethically and politically sensitive matter. As Slovene writer Marina Grzinic commented in Fiction Reconstructed (2000) 'it is time to find and to rewrite paradigms of specific spaces, arts and media productions in Eastern Europe.' The convenors of this strand welcome proposals of papers dealing with any aspect of art (widely defined to include architecture and design) or the art historiography of Eastern/Central Europe in the period since the Second World War. ANA MIUACKI Harvard University The Second World: The Signifiers of History's Burdens and Utopias since 1989 T his paper will examine the usefulness of the notion of the Second World, at least i insofar as we are dealing with the history of that world's aesthetic production. In The Seeds ofTime, Fredric Jameson opens his chapter 'Utopia, Modernism, and Death' with a shorthand analysis of the significance of the geo-political map constituted from the colloquial designations of the Third World, the admittance of the logical existence of the First World, and the strangely ignored (and repudiated) position of the Second World. It is my assumption that a culture of the Second World, despite often being ignored even by its own inheritors, exists beyond the mere structural position reserved for it in a world conceived in terms of the First and the Third. Immediately after 1989, the emphasis of much work in art history was dedicated to dismissing the signifier. Eastern Europe, in favour of differentiation based on national specificity (and fuelled by a need for historical distancing from all of the baggage that came with the term), which has only delayed a more comprehensive analysis of issues particular to this geo-political region. This is not to say that Polish modernism and even post-modernism (insofar as we can speak of it) are not different from Czech or Bulgarian Modernism, for example, but to suggest that just as we cannot ignore each culture's specific history and trajectory, we cannot ignore the fact that certain practical and ideological parameters were shared in this region, especially during communism. When the communist empire crumbled, its pieces had to define themselves in terms of their ancient national identity, partly in order to 'taste' their own shape again against the old empire's homogenizing impulse. As if they were going to expunge the trauma of the proletarian (and soviet) dictatorship, and in denial of the trauma that would ensue from their programs for fast transition into capitalism, all references to the socialist past (whether we liked it or not, and without regard for the parts that were worth saving) had to be erased (or otherwise demonized). If one used the designation 'Eastern Europe' at a conference, one had to immediately explain the ideological underpinnings of the statement. Traumas of the scale that communism produced in this region follow the logic of historical time. Hence, this paper will explore the traces of that trauma in a number of publications on art and architecture since 1989. CARMEN POPESCU UMR 'Andre Chastel', University Paris IV-Sorbonne, Paris A Denied Continuity: The Shift of 'Heritage' as Ideology in Romanian Socialist Architecture I n 1951, Horia Maicu. chief architect of the project for the Casa ScTnteii (The House I of Sparkle), conceived as a symbol of the socialist culture in Romania, published an article in Arh/'fecfura magazine on the evolution of this project. The first designs of Casa ScTnteii (1948-49) were rejected by representatives of the Communist Party, following the advice of Soviet specialists, who declared modernist approaches as 'Americanised disproportions' of a 'match-box'-like edifice. The adopted solution was directly inspired by the model of 'high buildings' in Moscow, as opposed to the imperialist architecture. Rejecting modernist architecture as formalist, functionalist and cosmopolitan, the article published inArhitectura was one of the first to establish Socialist Realism in Romanian architecture. Until the end of the decade, the current dominated the built landscape, accompanied by a strong ideological basis published intensively in Arh/'fecfura magazine. Art, History and Memory in Post-War Eastern and Central Europe By the end of 1950s, Socialist Realism was tacitly abandoned. The major preoccupation was now rapid and efficient construction, so Romanian architects turned back to modernist principles, which became the new trade-mark of the progressive socialism, although in 1967, following the new political line of the Communist Party, the annual meeting of the Union of Romanian Architects reconsidered the problematic of the new aesthetics of Romanian contemporary architecture. The conclusion was that 'it was possible (to build) a contemporary architecture with a Romanian specificity'. Not only was it possible, it was strongly advised by the political authorities. This opened the path for a 'modem' architecture, translating in concrete the emblematic motifs of the traditional heritage. Also called 'lyrical nationalism', after the term used by one of its most fervent adepts, Nicolae Porumbescu, this tendency developed within the framework of the nationalist socialism that characterized Ceausescu's long 'reign'. This paper aims to present the role played by traditional heritage in founding an ideological basis of Romanian socialist architecture. In order to stress the importance of this ideology in decreeing the identity of the nation, my approach will focus on a double denial of continuity. On the first hand, this was a denial of the Romanian National Style, which represented the main current in modern architecture in the country. Created towards the end of the nineteenth century and developed throughout the first half of the next, the National Style proposed a continuity with tradition by interpreting local heritage in a modern language. Although based also on the use of forms of traditional heritage, Socialist Realism and 'Lyrical Nationalism' denied any resemblance to the former National Style. On the other hand, the new nationalist expression born at the end of 1960s strongly denied any continuity with the principles of Socialist Realism by using traditional heritage in order to build a modern identity. SUSAN E. RE ID University of Sheffield Representing Past and Presence: the Brezhnev Era Paintings of Tat'iana Nazarenko T his paper will focus on the representation of memory, history and self-identity in 1 the Brezhnev era paintings of Tat'iana Nazarenko. A Moscow artist associated with the liberal or 'left wing' of the Soviet art establishment in the 1970 and 1980s, Nazarenko reinvigorated the most prestigious genre of the Soviet academy, history painting. But far from exploiting the authority of the genre, her major paintings on canonical themes from Russian revolutionary history constitute a critical inquiry into the relationship between present and past, memory and official history, representation and 'fact'. Through a number of devices - visual quotations and appropriated stylistic 'masks', superimposition or montage of images, and multiple, embedded framing (the depiction of mirrors, windows, texts and paintings within paintings) - her work raises questions about historical narratives' claims to objectivity, omniscience and transparency. It exposes the representation of history as an act of reconstruction constituted from an over-layering of existing narratives, associations and memories, and carried out by an artist or writer positioned in the present. The history paintings represent one pole of Nazarenko's work. At the other are a number of direct or indirect self-portraits. Thus her analysis of the construction of history is complemented by investigations of the construction of her self. She represents herself through the material surroundings of her domestic space or studio and in the immaterial, remembered presence of friends who have passed through this space, transparent figures superimposed on the material constants of the room. Sometimes her own physical presence is displaced and refracted in the objects that surround her -a mirror, a dummy, her own paintings of friends - as if her own existence can be confirmed only by these objective traces. As contemporary critics complained, her artistic 'face' (in the sense of a personal style) is also refracted in a multiplicity of stylistic masks and borrowings from art history. The over-layering of memory and present-ness within the same space is echoed in the view of the city of Moscow framed by her studio window (The Big Window, 1982), where the material traces of different historical eras coexist, cumulatively constituting the present-day identity of the city that is her home. The paper will attempt to use the two aspects of Nazarenko's work to mutually illuminate each other. A significant role is played in both genres by the quasi-documentary depiction of material things. This will serve as a key to her treatment of time and subjectivity and will help locate it within the broader concerns of the Brezhnev era. The shifting attitude toward things is symptomatic of a widespread rejection of the modernist values of the previous era under Khrushchev, during which the future oriented faith in scientific and technological progress and in the imminent transition to communist society had its final flowering. In Khrushchevist neo-Marxist discourse things were the object of efforts to rid Soviet society of the ballast of the Stalinist and bourgeois past, to free humanity from irrational attachments and enslavement to fetishes that alienated people. Nazarenko's work, like other characteristic paintings and texts of the Brezhnev era, restores value to things as the objective but mute testimony of the past in the present, the evidence from which alternative histories can be constructed, and as the repository of human lives. 20 Art, History and Memory in Post-War Eastern and Central Europe PlOTR PlOTROWSKI Adam Mickiewicz University, Poznan To Censor the Crucifixion: Art, Politics, Democracy, Before and After 1989 ALINA SERBAN Architext Design Review, Bucharest Memory and Ideological Distortion in Re-mapping an Old Iconography: The 1907 Revolt f*"^ iscussing a map of the relationship between official and non-official art in !—/ Eastern-Central Europe we are able to find more differences than similarities between particular countries in the region. Some of them, like Yugoslavia and Poland, have passed a sort of limited liberation very early, rejecting socialist realism and adapting modernism and abstract art as an expression of free culture. However, such an art turned out very soon, to be one which could be recognized almost as an official style. The official appropriation of modernism disarmed it, and changed its meaning into decorative formalism. Neo-avant-garde art emerged later, theoretically as a counter-modernist approach, adopted this formalist meaning, and inscribed itself into more or less officially recognized culture. In the other countries, particularly in Bulgaria and the GDR, socialist realism was kept as the official art almost up until the end of the regime, and the communist authorities never officially recognized modern art. In the middle we have Czechoslovakia and Hungary, where neo-avant-garde art emerged as a highly anti-official art, and ­particularly in Hungary - very politicized. To be against communism in visual culture in those two countries meant to support the neo-avant-garde for a very long. Using such a map as a point of departure I would like to raise a question on religious iconography in the visual arts and its role in the struggle to 'live in truth,' particularly in Poland in the 1980s. That country was in the unique situation not only Pecause of the nationwide political opposition to the regime, and Pecause of the most politically powerful position of religion and the Church, Put also Pecause of the amPivalent position of modernism/the neo-avant-garde. The artists connected to the Catholic Church and the underground Solidarity opposition in the 1980s rejected formalist approaches to art, looking for religious iconography as the basis of 'true' culture, 'living intruth' and expressing national memory. They used it to oppose Poth officially recognized modern art and Martial Law itself. The point of the paper, however, is not to describe such historical processes, but rather to raise a question about the present, post-1989 situation. Some artists still use religious iconography in their art, albeit in a critical way to deconstruct religious nationalism. Established iconographical references, even if they are made in different visual modes, work now as a means of critique of contemporary power, a challenge to the enormous role of the Catholic Church in Polish political structures and public life. The Polish authorities after 1989, coming both from the former political opposition, and from former communist institutions, are strongly opposed to critical art of this kind. Along with censorious discussions in the Polish press, severe statements from the Church and political officials, at least one law-suit has been introduced in Poland. Accused of blasphemy while using in her art a cross with male genitals inscribed in it, artist Dorota Nieznalska was sentenced for six months. This situation is without precedent in post-communist Eastern-Central Europe. Nieznalska's art and her story will be analysed in the paper as a case study of a shift of historical framework in which religious iconography has been used in Poland, before and after 1989. This analysis will result in the question of a sort of 'privatization' of religious iconography in public visual culture by the Church, and the State influenced by the former one. Drawing upon the concept of radical democracy (Claude Lefort, Chantal Mouffe, and others), it will explore the related issues of censorship and the formation of a civic society in post-communist Poland. Religious nationalism, forged in the communist period, has remained after 1989 and has provided ideological legitimacy for the censorship of the critical use of religious iconography in the public sphere. From a more general perspective we could say ­quite provocatively - that the former 'life in truth' now means life in oppression, or even - as the case of Nieznalska shows - in repression. ase ^rue \ A/ h t' ^ relation between invented/re-written history and the official V V icons produced by communism? Who was the producer of this iconography, the artist or the ideologue? How did history painting becomes part of official doctrine and in which ways did it figure as a method of re-educating mentalities? My paper addresses these questions by analysing first the powerful connection between historiography and ideological process. History painting constituted a coherent ideological program of the dictatorial regime in Romania The ideologue, modifying history and its narration, initially taking into consideration Soviet patterns and then the nationalist ideas of Ceausescu's regime, succeeded in inducing historical themes in painting (a pattern with different applications in other arts and in architecture). In this paper I will focus on a single theme typical of history painting in those years. The 1907 Revolt. Along with the 1944 Revolution, this moment was one of the important moments glorified by the Communist Party. These historical acts performed by legendary figures prefigured the inauguration of communism (Mihai vlteazul, Stefan eel Mare) and allowed their leaders to be seen as spiritual mentors. 1907 has an interesting evolution and conceptualizations especially because it is one of the themes that the authorities demanded of artists. It stood for the 21 Art, History and Memory in Post-War Eastern and Central Europe ideological purity and progressive character of socialism. It also illustrates the total subjugation of art as a political instrument. This subject of the 1907 revolt illustrates the simulation of history and the orchestration of the memory of an important event. It represented the ideological assertions of the Communist Party as well as the link between two periods of Romanian history (from the left-wing activism of the inter-war period to the glorious days of communism). This theme was not only distorted as an historical event: it also should be perceived as a form of inoculation. Even today, popular opinion of this event describes it according to the terms established by communist history. This paper will also address the question of the treatment of the iconography. This is the artist's role: one which in the case of Octav Bancila's interpretation of the subject predated the communist ascendancy. Moreover, individual interpretation was to prove a modality that eluded the system. KATARZYNA MURAWSKA-MUTHESIUS Birkbeck College, University of London Trauma of 'Aesthetic Castration' or the Forbidden Pleasures of Socialist Realism? Psychoanalysis in/ of Wajda's Man of Marble \ A J ajda's film Man ofMarble (1977) - posing the issue of the repression of the » •» history of the Stalinist past in Poland and playing head-on with personal memories of the film crew - was hailed an 'Eastern European Citizen Kane', and a milestone of the 'cinema of moral concern', and has been extensively discussed within the context of Eastern European post-war politics and representation. Eastern European cinema, propaganda documentaries and censorship, as well as in the context of gender roles prescribed for cinematic heroines. What appears to have evaded the discussions is the ambiguous message of the film in relation to the re-evaluation of socialist realism within the Polish cultural and historiographical discourse of the late 1970s. The toppled-over socialist realist plaster-cast of the hero of the socialist labour competition, discovered in storage of the National Museum in Warsaw by the young woman film-maker Agnieszka, constitutes the master metaphor of the film, and is overtly related to a number of other socialist realist works of the period, in various mediums, including the 'canonic' work of the Polish socialist realism, Kobzdej's Pass me a brick. Wajda's film contains both a standard critique of socialist realism as 'regression' / castration, and, at the same time, subverts the modernist criteria of an absolute artistic value and the ensuing policy of exclusion. The paper argues that the film contributed to the process of its repositioning from the unconscious of discursive formations onto an attainable level of its both popular and academic evaluation, which eventually lead to the opening of the first Gallery of Socialist Realism in Poland in Kozlowka, and 'produced' new kinds of post-modern subject positions for curators of post­ 1945 art, which would define themselves precisely against the lady-curator, caricatured in the opening scene of the film. The paper proposes also to read the film and its reception from another angle, employing methods of psychoanalysis. The film can be approached as an exercise in auto-analysis on the part of its director and script-writer, both admitting that the film re-tells the embarrassing memories of their own careers; using the therapy of recovering the repressed memories of their youthful contribution to the Stalinist cultural apparatus, in order to remove the neurotic symptom. It appears, however, that the process of exorcizing the Stalinist past, is governed by the pleasure principle - the return to the lost happiness, the forbidden pleasures of socialist realism, censored and repressed in turn by the post-Stalinist super-ego. RUDIGER RlTTER University of Bremen Permanent Reconstruction of Collective Memories: The City of Vilnius between Polish, Lithuanian, Belorussian, Russian and Jewish Heritages \ / ilnius is one of the most striking examples of Central / East European city with a V divided, 'multicultural' heritage. It has been inhabited by Poles, Uthuanians, Belorussians, Jews and other ethnic groups. The Old Town contains material remnants of these groups and of different periods in the city's history: the 'Uthuanian' Upper and Lower Castle; the 'Polish' churches (especially in Ostra Brama); the 'Russian' governmental palace and orthodox churches; the 'Jewish' quarter. With this architectural 'harOware' and the continuing existence of various ethnic, social and religious groups after the destruction and population changes associated with the Second World War, it has been difficult to construct an image of cultural or ethnic homogeneity for the city. Vilnius' Old Town is a huge reservoir of diverse memories that each political system had (and has) to cope with. After the appearance of modern nationalism, with its emphasis on ethnic conformity, the idea of a multicultural heritage became a problem. The city was claimed at various times as exclusively 'Polish', 'Uthuanian' or even as 'Belorussian'. Each reconstruction of Vilnius' Old Town was underscored by an aim of making the image of the city conform to the political situation. In effect, these schemes were attempts to produce new forms of collective memory to legitimate power. Reconstructions, demolitions and changes to the function of key buildings were the basis of these strategies. ANDRES KURG Estonian Academy of Arts Spaces of Non-Official Art: Artists, Art and Homes in Estonia in the 1970s DAVID EVANS The Arts Institute at Bournemouth Brecht, Muller and a Spectre Leaving Europe Art, History and Memory in Post-War Eastern and Central Europe The socialist system after 1945 was no exception to this pattern. The intention to 'escape from history' was expressed in the destruction of those parts of the Jewish heritage that remained after the efforts of Hitler's troops; by insensitive modernization (including destruction of a part of Vokieciu gatve in order to extend a major road); and by construction of new buildings with official functions such as the main Post Office, the Parliament and the Opera in the city centre. In fact, these schemes might be characterized asa Lithuanization because all these new buildings favoured a socialist Lithuanian culture, disturbing the public activities of other ethnic groups. After 1989, a two-fold evolution took place. On one hand, independent Lithuania rebuilt the Old Town as the Lithuanian capital and centre of national culture (notable in the reconstruction of Lower castle and Gediminu prospektas). On the other hand, according to an idea of European multiculturalism (an integral part of Lithuanian political ideology) Polish, Belorussian and Jewish buildings were restored. The city was reconstructed as an 'open-air-museum' with monuments of all ethnic groups in order to demonstrate Lithuanian 'Europeanness'. Questions of history and city architecture are now broadly discussed in newspapers and historians co­operate with the city council. Today the city's architecture has acquired political significance once again, albeit within the framework of a developing system of post-socialist democracy. J\ nalysis of Cold War modernism in the capitalist West and socialist East poses a > S paradox: if the visual imagery and cultural forms on either side appeared similar and posit a similar Utopia of industrial modernization they, nevertheless, represented conflicting ideologies and thus attained divergent meanings in their different contexts. The ambition of the 1960s neo-avant-garde in the West to transgress the conventions of art by unifying the artistic and the political was, in Soviet conditions either not understood or deemed inappropriate. Critiques of artistic autonomy and pure pictorial qualities seemed too much like official socialist realist dictats, and when the Western avant-garde criticized capitalism and commodity culture they seemed to echo the endlessly reiterated words of official Communist party discourse. The appeal of the 'street' as the site of action for the Western neo-avant-garde was mostly connected to the criticism of art institutions (in the 1960s art was situated in many ways in an 'expanded field'). In Eastern Europe, it was the unofficial position of the artist or art work in relation to official dogma, that led to exhibitions and happenings in closed-off or peripheral places accessible only to the artists themselves. In a paradoxical way the traditional private sphere was transformed into a site for free discussion and argument (whereas in bourgeois democracies this function was carried out in public spaces). In this paper I will explore the significance of the private sphere in a totalitarian society as an autonomous and seemingly 'apolitical' realm for unrestricted artistic development; and asa site for close-circuit performances, films and private exhibitions cut off from the public restrictions and demands. From the early 1970s onwards, these events could be followed through an Estonian interior design and art magazine with pan-Soviet circulation, Kunst ja Kodu/lskusstvo i byt (Art and Home) which featurea the particular spaces of artists' homes and studios and, under the disguise of the private, represented the non-traditional techniques and non-conventional work of unofficial artists. This paper juxtaposes scripto-visual work by two poet-playwrights associated with the former German Democratic Republic: Bertolt Brecht and Heiner Muller. War Primer by Brecht was published in East Berlin in 1955; A Spectre is Leaving Europe by Muller was published in Cologne in 1990. Both books combine photography and poetry. Brecht creates 'photo-epigrams', four line verses commenting on photographs mainly clipped from the press during World War II. The photographs in the Muller book are by Sibylle Bergemann, made when she was the official recorder of the creation and installation of the Marx/Engels monument which was unveiled in East Berlin in 1986. Unlike Brecht, Muller offers no direct commentary on the photographs. Rather, the poems constitute the explosion of a memory, triggered by the events of 1989. My analysis revolves around monuments. Brecht's 'photo-epigrams' are intended as flat, portable monuments, radical alternatives to the monuments actually built in the early years of the GDR. In contrast. Muller's writing has no hint of the revolutionary civics found in Brecht. It isa grim product of late Communism, a sardonic comment on a system which was able to turn Brecht himself into a safe, stale, literary monument. 23 Art, History and Memory in Post'War Eastern and Central Europe NIKOLAI VOUKOV Central European University, Budapest Dynamics of Memory and Monument Building in Socialist Bulgaria IZ rom the first establishment of socialist ideology in Bulgaria, monuments were I inseparable from its visual culture. The themes and approaches to commemoration were already settled by the end of 1940s in the appeals to commemorate the war dead; in the festive, plastic decoration of streets and sguares to celebrate socialist holidays; and in fixing the 'proper' artistic means for eternalizing the memory of its heroes. Although, in general, the function and meanings of monuments did not change greatly in the socialist period before 1989, a dynamic curve in the pattern of their building and in the commemorative practices around them can be traced; from the predominance of monuments to the Soviet Army in the 1950s; through the emphasis on monuments to local and regional heroes in the 1960s; and the processes of cataloguing monuments and historical sites in the 1970s; to the attention paid to commemorating national heroes and the peak of artistic sacralization of death in the 1980s. Each has important things to say about how ideology accommodated memory. This paper will outline the contours of memory through the dynamics of monument building in socialist Bulgaria. It will explore the peaks of politicized commemorative activities in the period and the points at which power used visual representations of death to legitimize its authority. The characteristic traits of monuments and memorialization during the period reveal not only ideology's potential to remember, but also its intention to forget (through its power to include and exclude from commemoration). Part of a larger project and grounded in rich empirical data, this paper will reflect on the strategies of rearranging and reshaping memory in the socialist period. Past, Present, Future? GEN DOY 3 De Montfort University, Leicester T his session will look at uses of history, significance of the past for the present, and ways in which past and/or present can suggest future developments and strategies for artists, art historians, educators and museum/ gallery curators. Suggested topics might include ways in which artists utilize art historical sources (is this always involved with the post-modern, irony or pastiche?), whether history is still a significant factor in the contemporary art world, the reluctance of some art historians to teach contemporary art (when does the contemporary become history?), whether new technology necessarily mean new ideas, now old is 'old' and what is the 'new' if we have already rejected Modernism and Post-modernism (or have we?). PATRICIA ALLMER O ene Magritte's paintings express a complex relationship to art historical i \ traditions, in spite of his insistence that 'Past, future, I don't know them. I solely Loughborough University work for the present' (Interview with Maurice Bots, 1951). The present in representation, as a central theme of Magritte's painterly analysis, is intimately Traditional Perspectives/ bound to notions of absence - specifically the absence of the past and of tradition Perspectives on Tradition: Rene in the present act of painting. This paper will explore some elements and expressions Magritte's Conceptions of the Art of this absence. Work's Past, Present and Future Magritte's writings will be discussed, and reference made to specific art works (including Perspective: David's Madame Recamier (1950) and Perspective: Manet's Balcony (1949)) in order to analyse the problematic status of tradition and the art historical past in Magritte's art. The paper will investigate how aspects of his works engage in the representation and theorisation of issues such as: Magritte's perception of the art work's being in time; temporality and tradition in relation to the Modernist art work; the historical moment in art and its theorization by concepts such as Derrida's 'ghost', Benjamin's 'aura', and Barthes' 'punctum'. RONALD R. BERNIER Wilkes University, Wilkes-Barre, PA Ageing the Present: Contemporary Realism and the History of Art • his paper considers contemporary painting's return to realism and figuration, in ! particular that art which self-consciously engages in visual and intellectual dialogue with Art History's auratic past. It examines recent painting which, in subject matter and technique, conspicuously positions itself within the genealogy of the Tradition - appropriating, refraining and recasting Old Master forms, figures and styles, in what Mieke Bal has called 'preposterous history.' It begins with some specific examples of this practice, including: the Swedish-born painter. Odd Nerdrum's tradition-bound narratives, recalling the figural ensembles of High Renaissance and Dutch Master painting; American Steven Assael's pastiches of Gothic and Baroque altarpieces, recast with the dramatis personae of modern underground subculture; Argentinian-born Victoria Gitman's feminist appropriations of western iconography's female-as-image, now with self-portrait as stand-in for the canonical women; and New York artist. Ken Aptekar's simulations of Art History' icons overlaid with the inscribed narrative of his Jewish-American identity. These, and other, examples lay the foundation on which to address some of the implications of this postmodern archaism and the multiple psychological and epistemological processes that integrate the past into the present - nostalgia and memory, authenticity and quotation, theatricality and identity, irony and pastiche. What is the difference - semiotically - between the Past and the Present? Is to borrow a motif, a figure, or a technique to borrow its 'meaning' a priori? Or, do Art's meanings shift over History's distance? How do we get Here from There? How is quotation (not) mimesis? What, now, are we to make of the notions of 'influence,' 'priority', and 'originality'? And what of the temporalities of 'return' or repetition? These are some of the questions this paper seeks to address. KRISTEN HUTCHINSON University College London Remembering the Past in the Present: Christine Borland's The Dead Teach the Living L, or this session, I propose to discuss Christine Borland's installation The Dead Teach the Living. The paper will investigate Borland's use of history as a means of exploring past and contemporary issues. Created for the 1997 Sculpture Projects in Munster. Borland answered the curators' call for a 'confrontation between history and contemporary art ' by choosing to work within the anatomical institute at the University of Munster. Borland became interested in a display case of forgotten representations of heads, including death masks, casts, and portraits, and attempted to uncover their provenance. In working with an historian, she discovered the institution had been a centre for racial hygiene research during World War II and that the heads were anonymous study specimens. The installation. Past, Present, Future? MARK GODFREY Slade School of Fine Art Beryl Korot's Dachau 1974 Weaving Past and Present MARION ARNOLD Independent scholar The Bad Old Days and the New South Africa CATERINA BENINCASA University of Huddersfield Has Art History Had its Day? A Pedagogical Experiment into the Relevance of Historical and Contextual Studies for Fine Art U ndergraduates consisting of seven heads recast as portrait busts using cutting edge technology, explores how medical and anthropological research continues to define what constitutes normality. The memorializing of these lost subjects seeks to question how history is constructed. She argues that previous historical concerns are still relevant, with eugenics being reconsidered in contemporary medical practices. The paper will examine how, by contemplating issues of identity, race and scientific research, Borland's installation merges the past and present in order to question what the future holds. \f orot was one of the pioneers of video art, founding the magazine Radical IX.Software and compiling the anthology of essays Video Art (1976). Most of the artists with whom she was associated were using the new technology of video to investigate new ideas that arose from its use. Their work explored feedback systems and the connections of video with TV. On account of its facility for simultaneous recording and playback, video was celebrated for its purchase on 'The Present Tense' (this is the title of an essay by Bruce Kurtz collected in Korot's anthology). Korot's work, however, was both a complex investigation of 'the present tense' and a meditation on history. Dachau 1974 is a four-monitor video work made using footage Korot shot in the concentration camp then recently turned into a museum. The footage shows tourists wandering through the camp, the ovens, the fences and a stream. The final work used a system derived from Korot's interest in weaving: an image showed on monitor 1 and continued on monitor 3; another one on monitor 2 continued on monitor 4. The viewer was both confronted with a structure that was insistently present, and images that referenced a catastrophic past. I want to explore how the work binds a concern with historical representation with an exploration of the formal and abstract qualities of a new technology. Though Korot's work is completely distinct from the early 70s video work of Acconci, Serra, Jonas, Nauman etc, in many ways it anticipates the concern with history that can be found in the work of contemporary artists such as Marine Hugonnier, Anri Sala, Steve McQueen and Zarina Bhimji. Interestingly, Korot's work also anticipates a work her husband - the composer Steve Reich - made in the early 90s called Different Trains. . n 2004 the 'new' South Africa celebrates a decade of majority-rule democracy. In i few modern societies is the old so starkly differentiated from the new, politically and culturally. The apartheid regime (1948-1994) controlled access to education on the basis of race, and imposed an Afrikaner nationalist agenda on the different curricula offered to black, white and 'coloured' (mixed race) students in separate, unequal educational institutions. Race dominated both state ideology and resistance politics, and gender discrimination was accorded little attention. In the 'new' democratic post-1994 South Africa attempts are being made to address decades of inequality, but health and education enjoy a higher priority than culture in the annual budget, and political correctness inhibits the evolution of a climate of criticality that would benefit cultural expression. This paper examines aspects of the intersection of race and gender in women's art practice and art literature in the old and new South African societies. I explore some effects of politics and cultural expectations on black and white women artists pre-and post-1994, and indicate the ways in which art history responded to the challenges of postcolonial and post-modern theorization. I suggest that patriarchal power and attitudes, and third-world economic structures exert a significant influence upon women's participation in contemporary visual culture. T here is currently an expectation that fine artists should be competent critical ! writers and curators as well as practitioners. What analytical tools could a complementary contextual study provide them with? Recent discussions in the art world have suggested that art criticism is in crisis and has 'no clear mission'. At the University of Huddersfield we are currently exploring ways in which the teaching of Historical and Contextual elements to Fine Art undergraduates could be modified to provide more relevant, sympathetic, complementary and exciting exchanges between the fine artist and the art historian.This paper looks at whether studying art history today can enable students to understand and embrace other critic's and artist's works as if they are tools to be exploited, rather than avoided, ignored or feared. The aim of the paper is to facilitate the idea that artists and cultural critics, both past and present, can have a relevant and transparent part to play in informing future professional contemporary art practice. This research forms part of an ongoing personal interest in the relevance and pedagogy of History of Art. Design History, Visual and Material Culture to practice-based art and design undergraduates. Interventions/Intersections: The Future of Feminist Art, Histories and Critique PENNY FLORENCE MARSHA MESKIMMON The Slade School of Fine Art, UCL Loughborough University T his session seeks to interpret the changing dynamics of feminist art histories, theories and practices over the past three decades. During this time, the work of feminist scholars and artists has made radical interventions into the normative frame of art history, while forging productive intersections with other academic disciplines and wider forms of cultural politics. Is it now possible to discern new directions? The papers in this session will build on these interventions and intersections with a view to clarifying their implications for the future, especially as they engage notions of difference, ex-centrality and cross-cultural and/ or transnational feminist practices REBEKKA KILL Bradford College The Axis of the Personal: Sickness, Slippage and Anabolic Forms in the work of Gillian Wearing ADELE ERNSTROM Bishop's University Quebec Writing In and Writing Out: Questions of Women Art Historians in the Record IZ eminist writers such as Adrienne Rich and Shoshana Felman speak of their ' hesitation to use themselves as an illustration or to speak about female experience through personal example. In stark contrast to this position, of a decade or more ago, are the practices of women Britartists such as Gillian Wearing and Tracey Emin for whom an experience of 'the personal' is central. These artists explicitly reference recognizable pop cultural formats such as Reality TV and the talk show. I will argue that although the feminist position of these forms is questionable it is the anabolism of certain popular forms and contemporary practice that may produce future potential feminisms. More specifically, I will explore the way in which these patriarchally inscribed popular confessional modes constitute the axial mechanism by which these women artists have chosen to speak about the personal. I will further evince that the work of Gillian Wearing constitutes a complex incitement to resistance. As a consequence of this call to involuntary interactivity, new resistant viewing practices have emerged that may have serious implications both for feminist art histories and women's practice within, and outside, the normative structures of art historical practice. j n Desire and Excess: The Nineteenth-Century Culture of Art (2000), Joseph Siegel I avows the following in a note to the introduction to his study: '...I am unable even to begin with the vital role of women in the nineteenth-century culture of art. The writings of authors from Madame de Stael to Anna Jameson and beyond form an integral part of the history of the nineteenth-century culture of art. While I regret their absence from this study, due to the constraints of space and my own ignorance when the project began, I take comfort in the fact that the centrality of these authors will become steadily clearer with the emergence of current research' (p286, nl 1). I would point out that the research in question comes almost entirely from disciplines other than art history, e.g., from history (Kali Israel, Names and Stories: Emilia Dilke and Victorian Culture, 1999), English Literature (Judith Johnston, Anna Jameson: Victorian, Feminist, Woman of Letters, 1997), Religious Studies (Kimberly VanEsveld Adams, The Madonna in the Work of Anna Jameson, Margaret Fuller, and George Eliot, 2001). Yet the past quarter century has seen a virtual explosion of historiographical scholarship within art history by names that scarcely need rehearsal; Michael Podro, whose Critical Historians of Art appeared in 1982, figured early on in what has become a substantial cohort. I would explore tentative explanations for the near absence of feminist studies in this domain by art historians - however open we may be in other directions to the interdisciplinary exchange that treatment of the work of women art historians demands. There must, I think, be ways of moving beyond this anomaly. In this paper, I propose a critical look at the relation between art historical scholarship produced outside discipline-specific institutions, or institutions entirely, in its relation to institutionalization of art history as an autonomous field. It is directed to opening a space in which women's work as art historians and critics, practiced mainly outside universities and museums before the twentieth-century, can be seen as other than that of eccentric outsiders whose production was without issue. Interventions/Intersections MARIANGELES SOTO-DlAZ Hampshire College, Amherst Mistress of Abstraction KAREN VON VEH Technikon, Witwatersrand (Re)-Imaging the Body: The Relevance of Body Politics in Contemporary Art Making and the Work of Leora Farber SUSAN BEST University of New South Wales Theresa Hak Kyung Cha (1951-82): The Dream of the Audience and Anesthetic Expression A s new criticism and curatorial practices strive to render painting obsolete, and as new media/installation conquer conceptual ground in the name ot relevance to a 'new' post-modem era, is painting a viable practice? I ask this question as I work, in a leap of faith, as a Feminist Latin American Female artist (FLAF) seeking to define a conceptual transnational feminist abstract language in painting. I engage with my own painting practice by confronting my positionality as it relates, on the one hand, to abstraction and abstract painting; and on the other, to feminism. So I grapple with a history of modernism which is, surprise, surprise, largely white and male, and which precluded subaltern others. I grapple with a history of feminist art that has forgotten transnational feminisms and that has rejected abstract painting, by accusing it- unfairly, I argue - with being some sort of representative of the boys club. Two forms of resistance are articulated in my work: 1) Appropriating from dominant European/American traditions as a transgressive FLAF act. It is not surprising that given modernism's large debt to the notion of the 'primitive', such category continues to be enforced (under many guises) in order to define itself and maintain its civilized status, the marker of cultural development, which makes it epistemologically impossible for FLAFs to truly engage with abstraction in painting: it is the language of developed peoples. Subalterns will produce conceptual and abstract work that is derivative by nature, unless, of course, they nobly subscribe to their role as 'naive', or 'primitive'. 2) I engage with the assumed illegitimacy of my feminist practice. This is a two-pronged issue. Given the political strength of the Feminist Arts movement's rejection of abstract painting for other art forms such as installation, crafts-based work and performance, the nature of my feminist practice is put into question, given my choice of language. Most female abstract painters kept their feminisms at bay, naively requesting a ticket to the universal train instead. I find myself lost, and found, labouring, painting with/on uncharted feminist ground. T his paper will investigate the relevance of feminist body politics as a contemporary topic for art making, through a brief overview of the work of Leora Farber -a South African feminist artist. By referencing Farber's works, this paper will explore the social construction of gender identity, exposing politics of power that underpin traditional Western visual culture and how the perceptions of these power bases may have changed in the twenty-first century. Some writers/critics consider that feminism and body politics are outmoded topics for contemporary art making particularly within the changing climate of South African politics. Rosemary Betterton has said, however, 'It is only in a cultural and political climate of uncertainty and powerlessness that body pollution and disintegration has again become a powerful metaphor for the breakdown of moral and social certainties.' (R. Betterton, Intimate Distance: Women, Artists and the Body, 1996) In other words, when life is unstable the only control available to the individual is control over one's own body - thus body politics can be taken to mirror larger societal concerns. Farber has conceptually relatea the body and its dissolution to the instability of the South African climate since the changes that occurred here in 1994. Betterton's words are therefore pivotal and I would suggest that this larger context is not a shift away from Farber's feminist concerns, but merely an extra layer of meaning that allows her themes to expand, beyond the gendered emphasis of earlier works, while maintaining the relevance of the body as subject matter. C onceptual art is often seen as the embodiment of the Duchampian ideals of visual indifference and complete anesthesia. The absence of feeling is understood to follow from the rejection of the traditional aesthetic problem of expression, and the suppression of the beholder. The Korean American artist, Theresa Hak Kyung Cha, challenges us to reconsider this understanding of anesthesia. Working within the traditions of both conceptual art and structuralist film, her work is deeply moving ana yet deals with disturbing themes such as displacement and exile in a way that burns out the negative affects usually associated with them. Her aim was not to suppress the beholder but to engage them while also radically displacing them, as she put it, she wanted her work to be the dream of the audience. Many critics have reported that they experienced Cha's work as a pleasurable sliding away of a sense of self. Cha's work poses a challenge then not only to the accepted views of conceptual art and structuralist film, but also to late modern feminist art history which has colluded with conceptual art around the rejection of traaitional aesthetic concerns such as pleasure and feeling. This paper will use the work of Cha to reexamine the neglected role of feeling in late-modern art. Interventions/Intersections DOROTHY ROWE Roehampton, University of Surrey Out There - Performative Tropes and Double Acts (or Walking the City with Oreet Ashery and Shaheen Merali) CAMBRIDGE ne of the enduring critical legacies of feminist art and its histories has been the \-J continuing focus of enguiry into critical issues of identity, subjectivity and representation, issues that I should like to explore further in this paper in terms of current and future potential for contemporary diasporic visual arts practice. The knowing disruption of stable visual signifiers of identity as a means of exploring the fluctuating nuances of subjectivity has become a recurrent trope within much contemporary feminist diasporic practice and it is an issue that has pre-occupied the London-based, Jewish-born artist Oreet Ashery, who for a number of years has been performing herself Duchampian-style as Marcus Fisher, a male Orthodox Jew. More recently, she also participated in a live performance with fellow London-based, British-Asian artist, Shaheen Merali in which they collaboratively explored issues of trans-race and trans-gender within the parameters of an urban setting in a piece entitled Coloured Folks. It is those fraught spaces between desire, projection and identification that are explored by Ashery and Merali in their performance, in which the phrase 'coloured folks' ana all of its associated significations of 'otherness', removal and difference is turned in on itself to reveal the absurdity of the cliche and the contingency of any form of fixed subjective identification. By using the collaborative work of Ashery and Merali as a framework, this paper seeks to explore the legacy of performativity for contemporary and future diasporic feminist art practice and critique, in line with the issues raised by this session. Cambridge University Press are delighted once again to be attending the conference of the Association of Art Historians Please come and visit our stand to browse our newest titles, amongst which will be... The Papacy and the Art of Reformin Sixteenth-Century Rome Gregory Xlll's Tower of the Winds in the Vatican Nicola Courtright About The Tower of Winds, its architecture, decoration and wider religious and political purpose. Monuments of Papal Rome £65.00 i HB 10 521 62437 1 | 344pp The Roman Banquet Images of Conviviality Katherine M. D. Dunbabin The Roman Banquet offers the fullest picture of the role of the banquet in Roman life. £50.00! HB 10 521 $2252 1 I 312pp The End of Art Donald Kuspit Donald Kuspit argues that art is over because it has lost its aesthetic import. £25.001 HB 10 521 83252 7 | 224pp We will be offering all our titles at a discount throughout the conference www.cambridge.org CAMBRIDGE UNIVERSITY PRESS The Shattering of Old Law-Tables? Old/New Tension in Fin^de'siecle Vienna GEMMA BLACKSHAW University of Plymouth T urn-of-the-century Vienna has been epitomised since the publication of Carl E. Schorske's seminal Fin-de- Siecle Vienna.Politics and Culture as a hothouse in which 20th-century a-historical culture grew. Schorske argues that an indifference to history, an outright rejection of 19th-century culture reminiscent of an Oedipal revolt, defined the projects of Vienna's most innovative artists and intellectuals. Sigmund Freud, Gustav Klimt, Oskar Kokoschka and Arnold Schdnberg are brought together as Nietzschean cultural transformers: new, rebellious, epoch-making individuals. But the shattering of old law-tables was perhaps not as decisive or as immediate as the Schorske model first outlined. Old/New tensions were actually embedded in Viennese Modernism, often existing within the same frame, text, building or discourse. Kokoschka turned to the highly conservative portrait genre as a means of establishing his radical reputation. Egon Schiele's self-portraiture combined an ossified Christian iconography with a new, medical iconography of the hysteric body. Otto Weininger's Sex and Character offered the tantalizing model of the inherent bisexuality of humans, only to retreat anxiously to the fixing of gender positions and the maintenance of patriarchy. Such examples show a culturally entrenched reluctance to abandon the past. The narratives of original genius surrounding Vienna's key figures, first initiated by the Viennese fin-de-siecle avant-garde but perpetuated since in the monograph-tradition, has obscured this relationship between Old and New. This session has two aims. The first aim is to evaluate how far both Viennese Modernism and Vienna itself as a cultural, social and political context can be characterized as having ruptured history by abandoning the past. The second aim is to explore Old/New trends and tensions in the actual scholarship on fin-de-siecle Vienna. For example, what is the legacy of the Schorske model of Vienna as an a-historical, self-contained and interdisciplinary site of innovation? And how do scholars approach such a field today? CLAUDE CERNUSCHI Boston College Rethinking the Meanings and Implications of Old/New Tensions in Carl Schorske's Fin-de-Siecle Vienna TAG GRONBERG Birkbeck, University of London Viennese Modernism: A New Look T his paper reconsiders Carl Schorske's model 1) of Vienna 1900 as an ahistorical, 1 apolitical culture and 2) of modernism as an Oedipal revolt. It argues that, for all its merits, Schorske's view of fin-de-siecle Vienna overlooks the frequency and consistency with which specific themes and rhetorical strategies (a concern with myth and with a philosophy of truth) recur among ostensibly antagonistic aesthetic groups (the Ringstrasse, the Secession, the Loos circle). The paper also argues that Schorske ignores how poignantly stylistic choices in Vienna 1900 could convey political (specifically anti-feminine or anti-Semitic) connotations. It is these two key oversights, arguably, that permit Schorske to exaggerate the ideological rift between older and younger generations and to downplay the political implications of aesthetic choices in Viennese culture. The paper will also claim, on a broader, more methodological level, that Schorske's general model of history as Oedipal revolt is vulnerable because its over-reliance on Freud encourages the subordination of political differences to interpersonal dynamics, the drawing of questionable analogies between individual and group psychology, and the dubious endowing of universal validity to a time-bound and culture-specific idea of the mind. I n 1907 volume 19 of Deufsche Kunsf und Dekoration presented several striking photographs of the Viennese fashion designer Emilie Floge, clad in flowing 'reform' dresses. The execution of the dresses was attributed to the successful fashion salon Schwestem Floge, their design to the painter Gustav Klimt. The photographs formed part of the journal's promotion of the Wiener Werkstdtte as a recently formed arts movement concerned with the production of harmonious architectural and decorative environments. Here the distinctive new look of Werkstdtte designs was identified with a specifically Viennese historical continuity. Vienna was, so the journal claimed, the oldest continuous German Stadtkultur (urban culture). The status of the photographs in this context is ambiguous: they functioned neither simply as fashion illustration nor as documentary evidence of Werkstdtte design (the Werkstdtte did not officially open its fashion section until some years later). Rather than engaging with questions of attribution, whether of the dress designs (now ascribed by some scholars to Floge) or of the photographs (usually assumed to be by Klimt), this paper considers these photographic images as a carefully staged encounter between art and design. Considered in terms of a joint performance enacted by Klimt and Floge, the photographs reveal the ways in which female dress embodied tensions between tradition and modernity intrinsic to The Shattering of Old Law-Tables? early twentieth-century Viennese modernism, a complex dynamic between old and new that characterized not only the art but also the professional personae of its practitioners. JOHN COLLINS National Gallery of Canada The Good, The Bad and The Ugly: Klimt's Hope I , Censorship and the High Noon of Viennese Modernism ALEXANDRA KARL University of Cambridge Darwin's Menagerie? Animal Symbolism in Selected Works by Gustav Klimt JULIE M. JOHNSON Utah State University Theatres and Insane Asylums: The Incompetent Spectator and the Baroque Ideal JANET STEWART University of Aberdeen 'Cafe Nihilismus'? On the Debatable Modernity of Adolf Loos's Cafe Museum (1899) This talk will examine the controversy surrounding Gustav Klimt's painting of a ! nude pregnant female. Hope /, in the National Gallery of Canada collection, in the context of the larger problem posed by the public commission of his murals for the University of Vienna, Drawn into the discussion will be the circumstances surrounding Klimt's late withdrawal of Hope / from his 1903 retrospective at the Vienna Secession and what the implications were to what Schorske has defined as the crisis of Liberalism in fin-de-siecle Vienna. The Secession, of course, was the artists' association that had become a beacon of Vienna's modernity and that Klimt had been instrumental in founding in 1898. Central to the motivation behind this event are how notions of 'ugliness' emerged as a critical trope in published reviews of Klimt's University Paintings at the beginning of the twentieth century. Nudes were a frequent appearance at the Secession exhibitions, so how and why had Klimt pushed the boundaries of realism to intolerance? How might Klimt have been responding to Germany's notorious obscenity law, Die Lex Heinze, which at the time was meeting with bitter opposition from the visual arts and theatre communities? T his paper seeks to examine the role of several animal protagonists in Gustav I Klimt's fin-de-siecle paintings. In particular, we will be looking at works which feature simian and marine subjects in prominent roles, such as Der Beefhovenfr/es (1902), DieHoffnung (1903) and Jurisprudenz (1903-07). After considering the historical symbolism of each animal, we will explore its reception in the critical literature in order to ascertain the animal's meaning for Vienna's fin-de-siecle audiences. While scholars have maintained for over a century that these subjects contribute elements of the 'symbolic' and the 'enigmatic', we will argue that the animals chosen by Klimt in fact intersect with Darwinian narratives of descendence, which were popularized through Ernst Hdckel's concept of Schopfungsgeschichfe. Indeed, German-speaking countries (including Austria) were inundated during this time with a multitude of science publications, and these disseminated a vision of Darwinism which became a kind of popular philosophy. In this paper, we will see how Klimt's animal subjects not only register this revolutionary discourse, but do so in tandem with more traditional visual vocabularies. Indeed, these works hardly 'abandon the past,' but resurrect it by overtly embellishing classical and medieval motifs. Our analysis confirms that deeply imbedded within this iconography are elements drawn from Evolutionary Theory and Darwin/smus. Such contrasting strains converge in these works and. in conjunction, strike a tenuous balance between the past and the present. ! t was a theme of the recent Art Nouveau 1890-1914 exhibition that turn of the f century architects and designers searched the past for alternate histories, incorporating these motifs into their designs. In the theatre built for Steinhof there is a Jugendstil-Rococo motif that mimics the motifs of Austrian Baroque. This was hardly an alternate history in the context of the Habsburg Empire. I discuss why the Baroque motif was important, and even how it may help us understand why the freestanding theatre was built for Europe's newest insane asylum complex, for theatre was no longer considered therapeutic by medical doctors. A dolf Loos, author of Ornament and Crime and thought to be the sworn enemy of all forms of ornamentation, was long hailed the father of International Style. However, close readings of his texts and architectural works have revealed a rather more differentiated picture of Loos as a simultaneously 'modem' and 'traditional' writer and architect, who functioned as a sensitive barometer of conflicts played out in fin-de-siecle Vienna. One of his earliest architectural projects was a commission to redesign the interior of the Cafe Museum, located close to Olbrich's Secession building. Loos's completed work was described in 1899 by the Viennese art critic, Ludwig Hevesi, as both entirely modern and also 'rather nihilistic, very nihilistic', and it has since gone down in history as 'Cafe Nihilismus'. In the same year, however, Wilhelm Scheuermann, the former editor of Ver Sacrum, published a review of the Cafe Museum in which he claimed that for Loos, 'tradition is everything'. Appearing to side with Scholermann, in a lecture given in the Schwarzwald School in Vienna in the winter of 1912/13, Loos claimed that the Cafe Museum belonged in a tradition of old Viennese Biedermeier cafes. This paper sets out to explore the debatable nature of the Cafe Museum's modernity, paying particular attention to its status as a 'location of communication', and its connections with other Viennese 'speech sites'. The Shattering of Old Law-Tables? Old/New Tension in Finde'siecle Vienna GEMMA BLACKSHAW University of Plymouth T urn-of-the-century Vienna has been epitomised since the publication of Carl E. Schorske's seminal Fin-de- Siecle Vienna:Politics and Culture as a hothouse in which 20th-century a-historical culture grew. Schorske argues that an indifference to history, an outright rejection of 19th-century culture reminiscent of an Oedipal revolt, defined the projects of Vienna's most innovative artists and intellectuals. Sigmund Freud, Gustav Klimt, Oskar Kokoschka and Arnold Schonberg are brought together as Nietzschean cultural transformers: new, rebellious, epoch-making individuals. But the shattering of old law-tables was perhaps not as decisive or as immediate as the Schorske model first outlined. Old/New tensions were actually embedded in Viennese Modernism, often existing within the same frame, text, building or discourse. Kokoschka turned to the highly conservative portrait genre as a means of establishing his radical reputation. Egon Schiele's self-portraiture combined an ossified Christian iconography with a new, medical iconography of the hysteric body. Otto Weininger's Sex and Character offered the tantalizing model of the inherent bisexuality of humans, only to retreat anxiously to the fixing of gender positions and the maintenance of patriarchy. Such examples show a culturally entrenched reluctance to abandon the past. The narratives of original genius surrounding Vienna's key figures, first initiated by the Viennese fin-de-siecle avant-garde but perpetuated since in the monograph-tradition, has obscured this relationship between Old and New. This session has two aims. The first aim is to evaluate how far both Viennese Modernism and Vienna itself as a cultural, social and political context can be characterized as having ruptured history by abandoning the past. The second aim is to explore Old/New trends and tensions in the actual scholarship on fin-de-siecle Vienna. For example, what is the legacy of the Schorske model of Vienna as an a-historical, self-contained and interdisciplinary site of innovation? And how do scholars approach such a field today? CLAUDE CERNUSCHI Boston College Rethinking the Meanings and Implications of Old/New Tensions in Carl Schorske's Fin-de-Siecle Vienna TAG GRONBERG Birkbeck, University of London Viennese Modernism: A New Look T his paper reconsiders Carl Schorske's model 1) of Vienna 1900 as an ahistorical, I apolitical culture and 2) of modernism as an Oedipal revolt. It argues that, for all its merits, Schorske's view of fin-de-siecle Vienna overlooks the frequency and consistency with which specific themes and rhetorical strategies (a concern with myth and with a philosophy of truth) recur among ostensiPly antagonistic aesthetic groups (the Ringstrasse, the Secession, the Loos circle). The paper also argues that Schorske ignores how poignantly stylistic choices in Vienna 1900 could convey political (specifically anti-feminine or anti-Semitic) connotations. It is these two key oversights, arguably, that permit Schorske to exaggerate the ideological rift between older and younger generations and to downplay the political implications of aesthetic choices in Viennese culture. The paper will also claim, on a broader, more methodological level, that Schorske's general model of history as Oedipal revolt is vulnerable because its over-reliance on Freud encourages the subordination of political differences to interpersonal dynamics, the drawing of questionable analogies between individual and group psychology, and the dubious endowing of universal validity to a time-bound and culture-specific idea of the mind. j n 1907 volume 19 of Deutsche Kunsi und Dekoraf/on presented several striking i photographs of the Viennese fashion designer Emilie Floge, clad in flowing 'reform' dresses. The execution of the dresses was attributed to the successful fashion salon Schwestern Floge, their design to the painter Gustav Klimt. The photographs formed part of the journal's promotion of the Wiener Werkstatte as a recently formed arts movement concerned with the production of harmonious architectural and decorative environments. Here the distinctive new look of Werkstatte designs was identified with a specifically Viennese historical continuity. Vienna was, so the journal claimed, the oldest continuous German Stadtkultur (urban culture). The status of the photographs in this context is ambiguous: they functioned neither simply as fashion illustration nor as documentary evidence of Werkstatte design (the Werkstatte did not officially open its fashion section until some years later). Rather than engaging with questions of attribution, whether of the dress designs (now ascribed by some scholars to Floge) or of the photographs (usually assumed to be by Klimt), this paper considers these photographic images as a carefully staged encounter between art and design. Considered in terms of a joint performance enacted by Klimt and Floge, the photographs reveal the ways in which female dress embodied tensions between tradition and modernity intrinsic to JOHN COLLINS National Gallery of Canada The Good, The Bad and The Ugly: Klimt's Hope I , Censorship and the High Noon of Viennese Modernism ALEXANDRA KARL University of Cambridge Darwin's Menagerie? Animal Symbolism in Selected Works by Gustav Klimt JULIE M. JOHNSON Utah State University Theatres and Insane Asylums: The Incompetent Spectator and the Baroque Ideal JANET STEWART University of Aberdeen 'Cafe Nihilismus'? On the Debatable Modernity of Adolf Loos's Cafe Museum (1899) The Shattering of Old Law-Tables? early twentieth-century Viennese modernism, a complex dynamic between old and new that characterized not only the art but also the professional personae of its practitioners. "I"his talk will examine the controversy surrounding Gustav Klimt's painting of a I nude pregnant female, Hope /, in the National Gallery of Canada collection, in the context of the larger problem posed by the public commission of his murals for the University of Vienna. Drawn into the discussion will be the circumstances surrounding Klimt's late withdrawal of Hope / from his 1903 retrospective at the Vienna Secession and what the implications were to what Schorske has defined as the crisis of Liberalism in fin-de-siecle Vienna. The Secession, of course, was the artists' association that had become a beacon of Vienna's modernity and that Klimt had been instrumental in founding in 1898. Central to the motivation behind this event are how notions of 'ugliness' emerged as a critical trope in published reviews of Klimt's University Paintings at the beginning of the twentieth century. Nudes were a frequent appearance at the Secession exhibitions, so how and why had Klimt pushed the boundaries of realism to intolerance? How might Klimt have been responding to Germany's notorious obscenity law. Die Lex Heinze, which at the time was meeting with bitter opposition from the visual arts and theatre communities? I his paper seeks to examine the role of several animal protagonists in Gustav ! Klimt's fin-de-siecle paintings. In particular, we will be looking at works which feature simian and marine subjects in prominent roles, such as Der Beethovenfries (1902), Die Hoffnung (1903) and Jurisprudenz (1903-07). After considering the historical symbolism of each animal, we will explore its reception in the critical literature in order to ascertain the animal's meaning for Vienna's fin-de-siecle audiences. While scholars have maintained for over a century that these subjects contribute elements of the 'symbolic' and the 'enigmatic', we will argue that the animals chosen by Klimt in fact intersect with Darwinian narratives of descendence, which were popularized through Ernst Hdckel's concept of Schopfungsgeschichfe. Indeed, German-speaking countries (including Austria) were inundated during this time with a multitude of science publications, and these disseminated a vision of Darwinism which became a kind of popular philosophy. In this paper, we will see how Klimt's animal subjects not only register this revolutionary discourse, but do so in tandem with more traditional visual vocabularies. Indeed, these works hardly 'abandon the past' but resurrect it by overtly embellishing classical and medieval motifs. Our analysis confirms that deeply imbedded within this iconography are elements drawn from Evolutionary Theory and Darwinism us. Such contrasting strains converge in these works and, in conjunction, strike a tenuous balance between the past ana the present. 11 was a theme of the recent Art Nouveau 1890-1914 exhibition that turn of the I century architects and designers searched the past for alternate histories, incorporating these motifs into their designs. In the theatre built for Steinhof there is a Jugendstil-Rococo motif that mimics the motifs of Austrian Baroaue. This was hardly an alternate history in the context of the Habsburg Empire. I discuss why the Baroque motif was important, and even how it may help us unaerstand why the freestanding theatre was built for Europe's newest insane asylum complex, for theatre was no longer considered therapeutic by medical doctors. A dolf Loos, author of Ornament and Crime and thought to be the sworn enemy of all forms of ornamentation, was long hailed the father of International Style. However, close readings of his texts and architectural works have revealed a rather more aifferentiated picture of Loos as a simultaneously 'modern' and 'traaitional' writer ana architect, who functioned as a sensitive barometer of conflicts played out in fin-de-siecle Vienna. One of his earliest architectural projects was a commission to reaesign the interior of the Cafe Museum, located close to Olbrich's Secession building. Loos's completed work was described in 1899 by the Viennese art critic, Ludwig Hevesi, as both entirely modem and also 'rather nihilistic, very nihilistic', and it has since gone down in history as 'Cafe Nihilismus'. In the same year, however. Wilhelm Scheuermann, the former editor of Ver Sacrum, published a review of the Cafe Museum in which he claimed that for Loos, 'tradition is everything'. Appearing to side with Scholermann. in a lecture given in the Schwarzwald School in Vienna in the winter of 1912/13, Loos claimed that the Cafe Museum belongea in a tradition of old Viennese Biedermeier cafes. This paper sets out to explore the debatable nature of the Cafe Museum's modernity, paying particular attention to its status as a 'location of communication', and its connections with other Viennese 'speech sites'. Tehdvng Hsiefc. One Year Performance 1980-1981 (Time Piece). 11 April 1980-11 April 1981 Photograoh: Michael Shen From Work Ethic. WORK ETHIC Helen Molesworth 248 pages 1114 colour illustrations I £2295*529.95 cloth I Co-Published with the Bafumore Museum of All CITIES AND SAINTS SUFISM AND THE TRANSFORM ATION OF URBAN SPACE IN MEDIEVAL ANATOLIA Ethel Sara Wolper 152 pages 127 illustrations/15 maps t £45.95/350.00 cloth 1 Buildings, Landscapes, and Societies THE ART OF HEALING PAINTING FOR THE SICK AND THE SINNER IN A MEDIEVAL TOWN Marcia Kupfer 304 pages 1117 illustrations I f34.9VMS.00 cloth PIRRO LIGORIO THE RENAISSANCE ARTIST. ARCHITECT. AND ANTIQUARIAN David Coffin 288 pages 1145 illustrations I £41.95/355.00 cloth THE NATURE OF AUTHORITY VILLA CULTURE. LANDSCAPE, AND REPRESENTATION IN EIGHTEENTH­CENTURY LOMBARDY Dianne Harris 280 pages 118colour/115 b&w illustrations I £53.5G/S70 00 cloth I Buildings, Landscapes, and Societies THE ROMANESQUE REVIVAL RELIGION. POLITICS. AND TRANSNATIONAL EXCHANGE Kathleen Curran 400 pages 18 colour/180 b&w illustrations I f60 95/530.00 cloth I Buildings. Landscapes, and Societies THE ART OF ENIGMA THE DE CHIRICO BROTHERS AND THE POLITICS OF MODERNISM Keala Jewell 176 pages 112 colour/7 b&w illustrations I E26.95/S35JM cloth TIMES OF SORROW AND HOPE DOCUMENTING EVERYDAY LIFE IN PENNSYLVANIA DURING THE DEPRESSION AND WORLD WAR II:A PHOTOGRAPHIC RECORD Allen Cohen and Ronald Filippelli 288 pages 1150 illusrrancirs i D050A49,95 cloth THROUGH THE LOOKING GLASS Joyce Henri Robinson and Sarah Rich 48 pages 115 colour/10 b&w illustrations I C15.50/J19.95 paper Distributed tor the Palmer Museum ol Art JOHN COVERT REDISCOVERED Leo G. Mazow With an Essay by Michael Taylor 90 pages 45 colour/34 b&w illustrations I £1550*19,95 paper Distributed lor the Palmer Museum of Art In the US contact Penn State University Press | 1-800-3264180 | fax 1-877-778-2665 | www psupress org In the UK or Europe contact Eurospan | +44 (0)20 7240 0856 | fax +44 10)20 7379 0609 | orderstjedspubs CO uk SEE THESE BOOKS ON DISPLAY AT THE PENN STATE PRESS BOOTH Now and Then: Feminism: Art: History GRISELDA POLLOCK ALISON ROWLEY 6 University of Leeds University of Leeds T he curatorial project of Documenta 11 (2002) challenged us to consider art practice as a way of thinking about history. The work on exhibition articulated unconsidered histories through untypical concepts of the historical accessed as the aesthetic as the site of particularity, singularity and affectivity. In many ways, the project of Documenta 71 was profoundly feminist, but without self-definition as such. In 1996, Inside the Visible specified an elliptical history of twentieth-century art 'in, of and from the feminine'. The exhibition covered three historical moments and included varied geo-political generations, orchestrating its chosen practices around body, materiality, metaphor.and language. In both cases of these strategic curatorial practices, both art work and exhibition could be treated as 'theoretical objects' calling for critical and analytical reading. Yet between these two 'events' the acknowledgement of feminism's (theory and practice) central role in restructuring the ways we, as producers, readers, curators, think about art practices has been effectively 'disappeared: absorbed, appropriated and exnominated as a player in the historical field of later twentieth-century cultural debate. This session will be devoted to setting up the conditions in which both the location and repression of histories of feminist engagements with the practices of art, historical analysis and of curatorial framing can emerge and be debated. A panel of distinguished speakers: Sarat Maharaj and Mark Nash members of the Documenta 11 curatorial team, artist Martha Rosier, the first retrospective of whose work was shown in Britain, Europe and America in 1998, and Catherine de Zegher, Curator of Inside the Visible and Executive Director of The Drawing Center, New York, have been invited to respond to introductory presentations by Griselda Pollock and Alison Rowley. We aim to initiate a round-table discussion to which other contributions will be welcomed. The session has been organized by the AHRB Centre for Cultural Analysis, Theory and History (CentreCATH), University of Leeds, and is sponsored by CentreCATH and the School of Art and Design, University of Ulster. One of the functions of the AHRB Centre for Cultural Analysis, Theory and History is to explore art work and the work of curation as research and we have conceived this session as an event that will contribute to and extend the Documenta 11 project as one of 'interlocking constellations of discursive domains, circuits of artistic and knowledge production and research modules' (Okwui Enwezor). SPEAKERS Sarat Maharaj Mark Nash Martha Rosier Catherine de Zegher 33 Queering the Archive 7 GAVIN Bun RICHARD MEYER Goldsmiths College, University of Southern California, University of London Los Angeles nver the past twenty years or so, scholars have developed various ways of analysing the play of queer desire and identity within the history of art and visual culture. Some approaches have privileged . positivist methods of historical interpretation by seeking to uncover unknown or disregarded archives ­ including private, sub-cultural, underground or pornographic materials - in developing fresh knowledge of gay and lesbian artistic lives and artworks of the past. Others have been drawn, via psychoanalysis, to analysing the silences and omissions within the historical record itself as symptomatic of psycho-sexual meaning or repression. Others still, influenced more by deconstruction and queer/performance theory, have critiqued the archival reliance on documentary evidence and, in motioning towards more ephemeral ciphers and registers of sexuality, have called for a reappraisal of the very expectation that sexuality might be 'evidenced' at all within the visual field. This session engages with diverse approaches to the archival bases of queer art history and visual culture and includes papers which adopt a questioning attitude toward the research and writing of sexual knowledge. ne KELLY DENNIS T Museum of Sex (MOSEX), which opened in Manhattan in 2002, takes the I modern body and sexual mores as both its subject and its object. The inaugural university ot Connecticut, btorrs exhibition, 'NYC Sex,' proclaims New York as central to transformations in modern The 'Other' Other Victorians- sexual mores and presents 'queer' alongside 'straight' sexual history; both, however, ' are presented as subject to official repression as vice. This paper asks whether the Queering the Straight Archive at inclusion of homosexuality in MOSEX's narrative of 'Other Victorians' does indeed MoSEX participate in 'breaking new ground in an area of human life' traditionally neglected by museums. Or does the inclusion of the queer archive, in fact, perpetuate what Michel Foucault called the 'discourse on sexuality' as a history of repression, and thus embrace homosexuality only insofar as it is constituted as 'a sexuality that is economically useful and politically conservative?' t CI iorgio De Chirico's coded language, his penchant for a labyrinthian ARA H. MERJIAN J esotericism, and Nietzschian play with metaphors and signs has afforded the University of California, Berkeley creation of a semiotic closet around his 'Metaphysical' canvases. This paper will ask why these aspects of his art, along with his numerous, patently homoerotic images II Canto Segreto: Giorgio De and writings, have never been discussed with regards to queerness in the artist's Chirico's Nietzschian Queerness work. I will consider De Chirico's work as a key strain of modernism's symbiotic development with queer visuality. To the extent that Surrealism - which De Chirico unwittingly helped to found as a movement - made the 'queerness' of vision an inextricable part of avant-garde painting, I will address these issues as they took root in De Chirico's pictures. Leaving aside the concentration upon De Chirico's convoluted iconography, I focus instead upon how De Chirico's works evoke irony, parody, and objectification of language itself. CAROLINE A. JONES Massachusetts Institute of Technology Regulating the Queer Laocoon A esthetic anxieties about genre-mixing mask other concerns, as the many theoretical redactions of Laocoon attest. The Laocoonic trope circulates around a sculpture of the male body in pain, and yet its male interpreters (Pliny, Sadoletus, Winckelmann. Lessing, Babbitt, Greenberg, Brilliant) have largely mined a mediated archive. Layered with engravings, photographs, and iconoclastic screeds, Laocoon's archive has been deployed in part to regulate the erotics of the gaze. Queering that archive, we can trace the specific mechanisms of occlusion that enforce a dominant visibility over time and produce On my argument) a modernist sensorium. This paper suggests that the reign of formalism in mid-century was motivated more by desires to regulate the male body than with the abstract philosophical primacy of sight. Surveying the sensory anxiety that Laocoon emblematically provoked, I will suggest that feeling (especially erotic feeling) is the sense without 'sense,' which art, archives, and aesthetics materialize and contain. 34 Queering the Archive CHARLOTTE HOUGHTON Pennsylvania State University Isn't John Divine? Erotics and Erasure in Michelangelo's London MATTHEW TETI Northwestern University Sexuality in Flux: Between Homosexuality, Heterosexuality, Both and Neither in the Fluxus Archive JEAN WAINWRIGHT Kent Institute of Art and Design a:a novel: The Importance of Being Andy ALEX KENNEDY University of Glasgow A Love Letter to Jasper Johns ROYCE W. SMITH University of New South Wales, Sydney Distortion as Documentation: How to have an Archive in an Epidemic k A ichelangelo's unfinished London Entombment is an image about which a i V I great deal has been unsaid. With the exception of Alexander Nagel, most scholars have dealt narrowly with its attribution, patronage and provenance, No (written) account has touched upon the erotic charge among its central figures, and in particular between its nude Christ and androgynous John the Evangelist. This paper investigates the salvific purpose - and uncontrollable resonances - of this eroticism within the social context of the panel's commission. It examines the work's intersection with a strain of early modern heretical thought expressed almost exclusively in oral culture: that Christ and John had not merely 'loved,' but had been lovers. Ultimately, this study examines the strategies used to silence such discussion by sublimating discomfort over the picture's erotic dimensions into scholarly dispute over connoisseurial issues. | n 1958 through 1978 the Fluxus movement began to test ideas that came to the I forefront of cultural debate throughout these pivotal decades. One of these ideas was the guestion of the identity of the artist. Beginning with the work of John Cage, the concept of an art generated by audience members germinated in Fluxus to eventually entail a completely anonymous art that could be reproduced by anyone at anytime and place. Similarly, Fluxus brought to the fore issues of sexuality that were no longer constrained to representation through a medium, but instead engaged the sexual, historical and cultural body of the artist/performer. The tension between the will to create an anonymous art that paradoxically locates the performer in the moment of performance is evident in the archives of the Fluxus artists and their work. These artists struggled with the burgeoning feasibility of the social-sexual debate seeping into their work. 1 his paper will focus on Warhol's a: a novel as a collage of desire and subversion, 1 both a multifaceted portrait of Warhol and a 'gueer' performance. Tape extracts from 1965-1967 'literally' transcribed for the book will be played. Stored in the Warhol Museum they raise guestions about this vast undocumented tape archive. The presence of text and voice will attempt to position the listener within a complex temporal conundrum weaving specific incidents, knowing 'in' references, and plays on worOs. The tapes will be privileged as a self-portrait of Warhol with curiosity and control of the accidental as central tropes, a: a novel is writing as performance - both his knowing response to James Joyce and a 'thesis' on existence gathered by Warhol's mechanical' wife'. Privileging the tape archive this paper will re- present the 'hellish hymn from Amphetamine heaven' as Warhol's enactment of gueer performative Oesire. f he difficulty of interpretation in Art History stems from the inability to interpret • desire, to pin down this most diffuse and illusive of creatures that generates the object analysed and the subject doing the analysis. This paper explores the difficulty of locating desire as meaning in the art object, but, rather than looking at the paintings etc of Jasper Johns, I focus on an image from what could be callea the 'Johns archive' in orOer to introduce philosophical and theoretical ideas as possible routes into and through the problem of desire. I argue here that the decentred or gueered art historian mournfully searches through the archive, piecing together a history that points to her or his own desire and mortality; that the archive is a 'glass coffin' where temporarily and contingently ineffable or dead meanings haunt the corpus of the artist, invoked by the historian. C ocial hysteria, medico-political (non-)responsiveness and grassroots activism O resulting from the devastation of the AIDS pandemic have contributed significantly to an array of documentary and aesthetic 'evidence' of the HIV-positive body. Conseguently, aueer artistic production has undeniably served as a vital nexus between the still-incomplete scientific knowledge about the disease and the diverse, often unpredictable ways in which it has been experienced and subseguently rendered. This paper contends that the archive of contemporary art about AIDS has both aesthetically pathologized the seropositive body and problematized the ease with which its supposed, visible symptoms can be 'read' as infected/infectious. If, as Henri Lefebvre might contend, the relations between the viewer and the viewed ultimately constitute what art historians call museumified space, in what ways have the conventions governing those spaces and collections also regulated, transformed and distorted the imaging and institutionalization of HIV/AIDS? 35 Queering the Archive HELGE MOOSHAMMER Vienna University of Technology 'by car and on foot by night, also nearby areas, in the pinewood' ­Cruising Versilia jp"\ iscussions of contemporary culture are increasingly guided by a desire for the I—' invisible, for potentialities of experience outside established paths and given material representations. A cultural practice of such kind, cruising (through its involvement of body and sexuality) appears to be able to radically transform the meaning of inconspicuous spaces without necessarily employing material objects. Its presence is continuously rearficulated by ways of projection, superimposition and improvised appropriation. As cruising can neither be stabilized visually nor be conceived of as a landscape's inherent property, it challenges traditional archival economies: in particular the field of architecture, which in the wake of digitization and media technologies tries to create ever more intelligent representations, to produce an ever more accurate archive, as it were. My paper discusses this coming together of sexual desire, epistemological research and architectural vision as they encounter each other in the cruising grounds of Torre del Lago Puccini in Italy's Versili. *p Man Forum Based at The University of Manchester, ITALIAN FORUM is a research grouping of international scholars specialising in the arts, architecture and archaeology of Italy. Its academic interests include museology, visual studies, material culture and heritage management, and its notions of Italy and Italians are as broad as the peninsula's varied histories, cultures and spheres of influence suggest, encompassing the cultural domains of non-Italians who visited Italy, or settled in it, as well as those of Italian colonies, nazioni and inhabitants abroad. ITALIAN FORUM seeks to develop scholarly links with disciplines whose primary concerns may he elsewhere but which also address issues involving the visual world and material constructions of Italy and Italians. ITALIAN FORUM offers an arena in Manchester in which scholars can meet to discuss their current research projects and plan others for the future. It sponsors lectures, workshops, seminars and conferences on subjects of current research interest in the history of Italian art, architecture and archaeology, and it aims to develop links with research projects and centres in the United Kingdom and abroad. In these ways, it is consolidating and developing a research community in which established scholars and postgraduate researchers working on Italy can flourish. If you would like to learn more about the research activities of ITALIAN FORUM's members, and about the events we are sponsoring, do consult our website. If you wish to be involved in the Forum's events, please contact suzy.butters@man.ac.uk and she will add your name to our list of participants, and to our e-mail distribution list. ITALIAN FORUM: www.art.man.ac.uk/ARTHIST/forum/ sculpture/ city/ architecture/ museum STEVEN GARTSIDE SAM GATHERCOLE Manchester Metropolitan University of Liverpool University T he strand considers the inter-connections between architecture, sculpture, the museum and the place of the city. The papers will focus on the tensions that occur between the ideal and the real, between theory and practice. The spectator in the city automatically visually ranges over the forms and surfaces that are presented in the course of a journey, as the spectator in the art museum visually ranges over the objects on display. The strand explores ideas of context in relation to architecture and sculpture. Work is produced with a desire for response. This can occur as a palpable reaction, or as something which slips easily into an accumulated visual language. Often the institutional desire to order, classify, document, isolate and control can have a deleterious effect on both object and experience. There are, perhaps, interesting possibilities in the consideration of the everyday processes of encounter. What are the (dis)connections with intention? What should be the role of 'minor work'? What happens when categories such as 'architecture', 'sculpture' and 'theory' no longer seem to fit? NINA GULICHER Humboldt University of Berlin The Fiction of Sculpture's Autonomy: Sculpture and Mise en Scene in the Creative Process of Medardo Rosso (1858-1928) PAULINE ROSE The Arts Institute at Bournemouth Henry Moore in Dallas | n 1907 the poet Rainer-Maria Rilke characterized the sculptures of Auguste Rodin I as autonomous objects, which would be independent from any place and context by their formal strength and self-sufficiency, At the beginning of the modern period, the fixed siting of commissioned sculpture came to be replaced by work not necessarily embedded within permanent spaces. However, rather than simply conforming to Rilke's analysis, Rodin favoured a deliberately designed setting within which the meaning of the work would be realized. Considering Rodin's activities to control the public staging of his works, it becomes evident that the sculptor himself faced the problem of proper arrangements. The paper deals with the discrepancy between the sculptors' ideas about the staging - the mise en scene - in official exhibition contexts and its concrete realization. The focus lies on the sculptures and exhibitions of Medardo Rosso (1858-1928), a contemporary of Rodin, also working in Paris around 1900. Rosso's aim to produce sculptures that forget their material features and whose forms should diffuse into the surrounding ambient space provokes the question, if and how he succeeded to transmit such a progressive sculptural concept within an institutional context. 1 n 1977,1. M. Pei's new City Hall was completed in Dallas. A year later, Henry I Moore's sculpture Vertebrae: 3 Piece was installed on the plaza fronting Pei's building. After the assassination in Dallas of President Kennedy, a public 'think-tank' was established, entitled Goals for Dallas, to which Pei contributed. The City Hall and Moore's sculpture were seen by many as signalling the regeneration of the City's image. It has become a truism that Moore's works have been placed in front of modern buildings to function both as ornaments and as signs of culture. Equally apparent, in a broader context, is a will to achieve and make visible a sense of civic pride on the part of cities and their institutions. From the 1960s onwards the modern corporation, with which I will argue governmental and civic institutions can be ideologically linked, increasingly turned to the display and support of art as a sign of social and civic responsibility. Thus the rising interest in corporate public relations will be linked to such civic concerns: engagement with art was a means by which the city, the usual site of such institutions, could be defined as world class. Shopping malls can function as indicators of culture, and in Dallas there is a notable example in North Park Centre, which opened in 1965. Here, a year before the unveiling of Moore's sculpture at City Hall, an exhibition of his work was arranged as a public relations strategy to prepare the people of Dallas for the civic hall commission. This mall has museum quality and an outstanding display of modern art. Its developer, also a notable collector of sculpture, had connections with key figures involved with Pei and Moore's Dallas commissions: these business, civic and artistic interconnections will be explored in this paper. ALEX Pons University of Michigan The Public Value of Incongruity Moore and Oldenburg in the 1960s 1 he 1960s were an interesting moment for public sculpture in Britain and the US. 1 The traditional notion of a monumental representation of some shared value or commemorative purpose, after a brief resurgence in the wake of the Second World War, was largely discredited. At the same time there was a strong interest among both sculptors and public and corporate bodies in devising new, modern forms of public sculpture, sculpture thought of as bringing a strongly individualised presence to the relatively faceless spaces of the modern architectural environment. I propose sculpture/city/architecture/ museum to look at two sculptors who each negotiated in quite creative, if very different ways, the pressures operating on the idea of a public sculpture at this moment - on the one hand, a fascination with the idea of publicness, and on the other a compulsion to engage individual phantasy and disrupt the bland and compromised conceptions of the public sphere prevailing in official circles at the time. Oldenburg's public projects were at this point largely imaginary, Moore's very real, as he was then at the height of his reputation as a master of modern sculpture. The juxtaposition of these two figures underlines the deep-seated incongruities that that lie at the core of the more inventive engagements with the idea of a public sculpture at the time. SAM GATHERCOLE University of Uverpool From Eternity to Here: Post-War Britain and the Anti-Moore Movement GILLIAN WHITELEY University of Leeds A Sculpture of Possibility: Poetics and Politics in Urban Space AMELIA JONES University of Manchester (Post)Urban Navigations: Performance, New Media Art, and the Metropolitan Subject f~\ pinion on the validity of abstract art in the decade after the Second World War was divided between those who found within it an 'inhuman nothingness' and those that insisted that its pursuit was 'heroically motivated'. This paper will explore the space in which these ideas were formed and articulated. The use of the word 'heroic' appears regularly in the vocabulary employed by supporters of a group of abstract artists working in England at this time. Implicit in such language is an acknowledgement that the artists were willingly making sacrifices and seemingly setting themselves apart from one cultural climate, that put a capital A in art, in favour of another, Indeed, it was suggested by one sympathetic commentator that all that was left was a possible alliance with architecture. Certainly seeking distance from a romantic naturalism perceived as dominating much contemporaneous practice, an English sensibility more broadly, these artists identified an urban context for their work. The 'eternal relevance and immediate irrelevance' of an abstract art concerned with universal, absolute principles was to be rejected in favour of a renewed social engagement and a move 'from eternity to here'. I n the Mental Life of the Metropolis, Georg Simmel identified the particular characteristics of an essentially urban modernity: it offered chance encounters and unexpected opportunities to a transitory populace. The city presented a new forum of myriad possibility. Correspondingly, and almost as a counter to this, statuary proliferated. The permanence and gravity of civic sculpture proclaimed social hierarchy and political stability. Since the cul-de-sac of the late twentieth century, though, monuments have become dead-weights and categories such as architecture and sculpture have collapsed. Paradoxically, the 1972 Peter Stuyvesant City Sculpture Project continued the old practice of siting sculpture in urban space but it also heralded new encounters between viewer and viewed. One of the sculptors, Lillian Lijn, envisaged the city 'as a sculpture' and called for 'visionaries and poet-planners' to come together to create cities for the benefit of the whole urban community. Using Ujn's ideas and this transitional project as a starting point, this paper will address practice which inhabits the contemporary interface between the sculptural, the architectural and the urban - such as Lucy Orta's agitational Nexus Architecture. Informed by the writings of Henri Lefebvre and Paul Virilio, it will suggest that practice which operates in this new space reveals poetic ana political possibilities. j os Angeles has haunted the imaginary of those who have written about post-I— modernity and urban space. Twenty years ago, for example, Fredric Jameson published his famous essay 'Post-modernism, or the Cultural Logic of Late Capitalism,' in which he described his own feelings of disorientation in attempting to fina his way around the Bonaventure Hotel in the downtown area of the city in order to reference the depthlessness, fragmentation, and schizophrenia associated with the late capitalist, post-modern condition. This paper argues that, in their zeal to construct Los Angeles as the quintessential post-modern city, writers such as Jameson and Edward Soja hyperbolically project their own narrow sense of embodiment on the city and, thus, as white men struggling with their own unnerving feelings of dislocation, fail to see precisely the diverse range of subjects who destabilize their firm sense of place (a sense of place secured by a scholarly gaze that is still normative in its spatial expectations). Raising the question of what kinds of bodies actually populate the abstract spaces Jameson, Soja, and other post-modern theorists have described, the paper ends by focusing on the works of artists who have, precisely, disrupted their normative expectations by performing alternative modes of embodiment in the city of Los Angeles. Through performance and digital photographic technologies, artists such as those in the Chicana/o activist group Asco, Senga Nengudi, the Osseus Labyrint duo, Charles LaBelle, Susan Silton, and Sam Lee have, since the 1970s, produced Los Angeles as a different city entirely from that paranoid space of white male HELEN E. BEALE University of Stirling Threading a Way Through the Old, New and 'Renewed' Spaces of Lyon STEVEN GARTSIDE MIRIAD, Manchester Metropolitan University & Tate Liverpool Fabricating Spaces AUGUST DAVIS University of Liverpool In the Place of the Public TAIJI MIYASAKA Washington State University Revealing Materials sculpture/city/architecture/ museum confusion described by Jameson and others. Producing a different city - multivalent and never fixed in terms of ethnic, class, and sexual experience - they suggest a different way of understanding, in urban terms, what is at stake in post-modernism, 1 he urbaniste J-P Charbonneau feared that over-use of pedestrianised streets in I Lyon would 'museifter' heritage buildings: pointless if the spectator - however 'reverently' - shunned this inheritance. The paper examines how, imaginatively and tactfully, Charbonneau, architect Jean Nouvel, and museum curators in Lyon used space, context and tactility, to affect the quality of experience as people thread their way through the Renaissance traboules, the Second World War Resistance museum, and the re-planned city centre. Originally, the traboules - passageways within complexes of apartments spanning two streets - allowed silk weavers protection from inclement weather while delivering cloth to neighbouring merchants. Now, these protected spaces save the fabric of the building, but not as museums closing at night. Flats are let at moderate rent, in return for residents' co-operation with daytime visitors within their space. The Resistance Museum spaces are exiguous: apprehension/fear is a prelude to the apprehension of historical fact. Rough surfaces are as 'unsettling' as the context-the building was formerly the Gestapo headquarters. Theories for opening up city space - to aerer la ville - have been employed with discretion. Jean Nouvel's renovation of the Opera House did not necessitate the removal of sculpted and ornamented pieces to a museum: the dome he added, and the lower floors he inserted, allowed a marriage of old and new. C. abricating Spaces contemplates the potential of the arbitrary and the i indeterminate in the reading of urban space. Referencing large scale post-war architectural projects, the paper deliberately situates itself at a problematic intersection - the point where the interests of architect, client, resident and place are meant to connect. Space has been described by Georges Bataille as a 'lout', something which is 'as discontinuous as it is devious.' Part of the reasoning for this ill behaviour is, perhaps, connected to the disjuncture between the rhetoric (image and text) of architecture and its fabrication, compared to more everyday forms of experience and use. The paper will set up a series of casual encounters with post­ war architectural space. B y 1998, Martha Rosier had given shape to a body of work (as a photographic series, a video and a book) comprising of her photographs taken in airports and aeroplanes around the world since the early 1980s, entitled In the Place of the Public: Observations of a Frequent Flyer. Depicting seemingly quotidian terminal and plane interiors. Rosier's work explores the nature of these spaces and their concomitant advertising and shopping. The peripatetic element of Rosler's accumulation of work is hidden by the disorienting effect of airports' interchangeable appearances, resisting identification as discrete localities: it could be Singapore or Manchester. Not only does the terminal architecture mask the process of transportation from A to Z, but the plane journey itself, with its illusion of stillness, likewise dissembles: transforming distance and motion into the tedious marking of time in static surroundings. Visual and written examination of these illusions and their methods and implications (including the sheltering of passengers from the perilous nature of their undertaking) underpins Rosler's series. This paper delves into Rosler's exploration of the paradox of static travel and its inherent strategies of disconnection. The premise of this paper is that the relationship between human desire and 1 control is revealed in building materials. This will be demonstrated by investigating the historical work of Adolf Loos and the contemporary work of Herzog & DeMeuron. Adolf Loos describes two types of human desire - natural desire and desire controlled by culture, society, and other factors. These factors of control affect how Loos designs. Loos says that applied materials should be controlled and not imitated. This idea is driven by his concept of space, which he regards as something enclosed by materials. Even in the contemporary world, this relationship between desire and control can be seen in the choice of building materials, though differently from Loos. For example, Herzog & DeMeuron's work addresses desire and control in its focus on building skins, which can be compared with the human desire to expose the naked body. While humans control this desire to expose, the materials used by Herzog & DeMeuron are controlled by construction methods, form, and other architectural constraints. Thus, materials are not just static objects, but rather their properties are constantly redefined by factors such as human desire and control. sculpture/ city/architecture/ museum to look at two sculptors who each negotiated in quite creative, if very different ways, the pressures operating on the idea of a public sculpture at this moment - on the one hand, a fascination with the idea of publicness, and on the other a compulsion to engage individual phantasy and disrupt the bland and compromised conceptions of the public sphere prevailing in official circles at the time. Oldenburg's public projects were at this point largely imaginary, Moore's very real, as he was then at the height of his reputation as a master of modern sculpture. The juxtaposition of these two figures underlines the deep-seated incongruities that that lie at the core of the more inventive engagements with the idea of a public sculpture at the time. SAM GATHERCOLE University of Liverpool From Eternity to Here: Post-War Britain and the Anti-Moore Movement GILLIAN WHITELEY University of Leeds A Sculpture of Possibility: Poetics and Politics in Urban Space AMELIA JONES University of Manchester (Post)Urban Navigations: Performance, New Media Art, and the Metropolitan Subject O pinion on the validity of abstract art in the decade after the Second World War was divided between those who found within it an 'inhuman nothingness' and those that insisted that its pursuit was 'heroically motivated'. This paper will explore the space in which these ideas were formed and articulated. The use of the word 'heroic' appears regularly in the vocabulary employed by supporters of a group of abstract artists working in England at this time. Implicit in such language is an acknowledgement that the artists were willingly making sacrifices and seemingly setting themselves apart from one cultural climate, that put a capital A in art, in favour of another. Indeed, it was suggested by one sympathetic commentator that all that was left was a possible alliance with architecture. Certainly seeking distance from a romantic naturalism perceived as dominating much contemporaneous practice, an English sensibility more broadly, these artists identified an urban context for their work. The 'eternal relevance and immediate irrelevance' of an abstract art concerned with universal, absolute principles was to be rejected in favour of a renewed social engagement and a move 'from eternity to here'. I n the Mental Life of the Metropolis, Georg Simmel identified the particular characteristics of an essentially urban modernity: it offered chance encounters and unexpected opportunities to a transitory populace. The city presented a new forum of myriad possibility. Correspondingly, and almost as a counter to this, statuary proliferated. The permanence and gravity of civic sculpture proclaimed social hierarchy and political stability. Since the cul-de-sac of the late twentieth century, though, monuments have become dead-weights and categories such as architecture and sculpture have collapsed. Paradoxically, the 1972 Peter Stuyvesant City Sculpture Project continued the old practice of siting sculpture in urban space but it also heralded new encounters between viewer and viewed. One of the sculptors, Lillian Lijn, envisaged the city 'as a sculpture' and called for 'visionaries and poet-planners' to come together to create cities for the benefit of the whole urban community. Using Lijn's ideas and this transitional project as a starting point, this paper will address practice which inhabits the contemporary interface between the sculptural, the architectural and the urban - such as Lucy Orta's agitational Nexus Architecture. Informed by the writings of Henri Lefebvre and Paul Virilio, it will suggest that practice which operates in this new space reveals poetic and political possibilities. • os Angeles has haunted the imaginary of those who have written about post-i— modernity and urban space. Twenty years ago, for example, Fredric Jameson published his famous essay 'Post-modernism, or the Cultural Logic of Late Capitalism,' in which he described his own feelings of disorientation in attempting to find his way around the Bonaventure Hotel in the downtown area of the city in order to reference the depthlessness, fragmentation, and schizophrenia associated with the late capitalist, post-modern condition. This paper argues that, in their zeal to construct Los Angeles as the quintessential post-modern city, writers such as Jameson and Edward Soja hyperbolically project their own narrow sense of embodiment on the city and, thus, as white men struggling with their own unnerving feelings of dislocation, fail to see precisely the diverse range of subjects who destabilize their firm sense of place (a sense of place secured by a scholarly gaze that is still normative in its spatial expectations). Raising the question of what kinds of bodies actually populate the abstract spaces Jameson. Soja, and other post-modern theorists have described, the paper ends by focusing on the works of artists who have, precisely, disrupted their normative expectations by performing alternative modes of embodiment in the city of Los Angeles. Through performance and digital photographic technologies, artists such as those in the Chicana/o activist group Asco, Senga Nengudi. the Osseus Labyrint duo, Charles LaBelle, Susan Silton, and Sam Lee have, since the 1970s, produced Los Angeles as a different city entirely from that paranoid space of white male HELEN E. BEALE University of Stirling Threading a Way Through the Old, New and 'Renewed' Spaces of Lyon STEVEN GARTSIDE MIRIAD, Manchester Metropolitan University & Tate Liverpool Fabricating Spaces AUGUST DAVIS University of Liverpool In the Place of the Public TAIJI MIYASAKA Washington State University Revealing Materials sculpture/city/architecture/museum confusion described by Jameson and others. Producing a different city - multivalent and never fixed in terms of ethnic, class, and sexual experience - they suggest a different way of understanding, in urban terms, what is at stake in post-modernism. f" he urbaniste J-P Charbonneau feared that over-use of pedestrianised streets in I Lyon would 'museifler' heritage buildings: pointless if the spectator - however 'reverently' - shunned this inheritance. The paper examines how, imaginatively and tactfully, Charbonneau, architect Jean Nouvel, and museum curators in Lyon used space, context and tactility, to affect the quality of experience as people thread their way through the Renaissance traboules, the Second World War Resistance museum, and the re-planned city centre. Originally, the fraboules - passageways within complexes of apartments spanning two streets - allowed silk weavers protection from inclement weather while delivering cloth to neighbouring merchants. Now, these protected spaces save the fabric of the building, but not as museums closing at night. Flats are let at moderate rent, in return for residents' co-operation with daytime visitors within their space. The Resistance Museum spaces are exiguous: apprehension/fear is a prelude to the apprehension of historical fact. Rough surfaces are as 'unsettling' as the context-the building was formerly the Gestapo headquarters. Theories for opening up city space - to aerer la ville - have been employed with discretion. Jean Nouvel's renovation of the Opera House did not necessitate the removal of sculpted and ornamented pieces to a museum: the dome he added, and the lower floors he inserted, allowed a marriage of old and new. JZ abricating Spaces contemplates the potential of the arbitrary and the I indeterminate in the reading of urban space. Referencing large scale post-war architectural projects, the paper deliberately situates itself at a problematic intersection - the point where the interests of architect, client, resident and place are meant to connect. Space has been described by Georges Bataille as a 'lout', something which is 'as discontinuous as it isdevious.' Part of the reasoning for this ill behaviour is, perhaps, connected to the disjuncture between the rhetoric (image and text) of architecture and its fabrication, compared to more everyday forms of experience and use. The paper will set up a series of casual encounters with post­ war architectural space. By 1998, Martha Rosier had given shape to a body of work (as a photographic series, a video and a book) comprising of her photographs taken in airports and aeroplanes around the world since the early 1980s, entitled In the Place of the Public: Observations of a Frequent Flyer. Depicting seemingly quotidian terminal and plane interiors, Rosler's work explores the nature of these spaces and their concomitant advertising and shopping. The peripatetic element of Rosler's accumulation of work is hidden by the disorienting effect of airports' interchangeable appearances, resisting identification as discrete localities: it could be Singapore or Manchester. Not only does the terminal architecture mask the process of transportation from A to Z, but the plane journey itself, with its illusion of stillness, likewise dissembles; transforming distance and motion into the tedious marking of time in static surroundings. Visual and written examination of these illusions and their methods and implications (including the sheltering of passengers from the perilous nature of their undertaking) underpins Rosler's series. This paper delves into Rosler's exploration of the paradox of static travel and its inherent strategies of disconnection. T he premise of this paper is that the relationship between human desire and control is revealed in building materials. This will be demonstrated by investigating the historical work of Adolf Loos and the contemporary work of Herzog & DeMeuron. Adolf Loos describes two types of human desire - natural desire and desire controlled by culture, society, and other factors. These factors of control affect how Loos designs. Loos says that applied materials should be controlled and not imitated. This idea is driven by his concept of space, which he regards as something enclosed by materials. Even in the contemporary world, this relationship between desire and control can be seen in the choice of building materials, though differently from Loos. For example, Herzog & DeMeuron's work addresses desire and control in its focus on building skins, which can be compared with the human desire to expose the naked body. While humans control this desire to expose, the materials used by Herzog & DeMeuron are controlled by construction methods, form, and other architectural constraints. Thus, materials are not just static objects, but rather their properties are constantly redefined by factors such as human desire and control. Failure GAVIN PARKINSON SARAH MONKS 9 Birkbeck College, University of London. National Maritime Museum, London T his session addresses issues of failure and frustration in the practices, histories and theories of art, particularly in relation to failure in the pursuit of revival, reinvigoration and/or innovation. What were and/or are the conditions of failure in these spheres? How has the spectre of failure (whether feared or wilfully embraced) haunted and/or constructed artistic practice and its consideration? How has failure been defined and made (im)possible by artistic identities, critical approaches, curatorial practices and broader social dynamics? Whether as incompetence, marginalization, indolence, redundancy, 'paradigm exhaustion', misunderstanding, abortion, oversight or delusion, this session seeks to explore the ways in which failure has been 'produced' and enacted historically, in its changing relation to its (inevitable?) corollary, success, and in the extent to which failure remains a practical and theoretical option when taste and quality have been problematized. GAVI N PARKINSON Birkbeck College, University of London In Failance of (Marcel Duchamp) A Ithough Andre Breton celebrated Marcel Duchamp in his Nad/a of 1928 as 'the / \most singular man alive as well as the most elusive, the most deceptive', less than two years later in the Second Manifesto ofSurrealism (1929-30) he lamented Duchamp's self-imposed marginality as a pointless immersion in an 'interminable game of chess'. Breton's critical appraisal of Duchamp given here, centring on the emphasized pun echecs (failure/chess), contradicted not only his own remarks in Nadja but also the terse statement in the Second Manifesto promising nothing from Surrealism for those 'concerned about the position they occupy in the world.' Meant to distance Surrealism from conventional standards of what constituted success, the latter passage actually describes well Duchamp's refusal or inability to accept simple notions of success and failure, from his decision to give up painting at the time of his greatest artistic triumphs with the canvases of 1912, through his rejection of the fame and potential fortune that could have accrued to the scandal caused in America by his Nude Descending a Staircase at the 1913 Armory Show, to his later casual refusal of the appellation 'artist,' ending with the incomprehension that met his work up to the end of the 1940s and subsequent recognition as the most influential figure of twentieth century art. I open my paper with Breton's vexed responses to Duchamp's inconsistent behavior, tracking the question of lack and shortfall in Duchamp's epistemology. Moving from Surrealism to the radical reorientation of hierarchically ordered antinomies suggested by Deconstruction, I go on to gauge this peculiar and paradoxical economy of withdrawal and exposure, obscurity and fame, giving and taking - success and failure of Duchamp. ISABELLE MOFFAT MIT.Massachusetts The Opposite of Failure: Contemporary Photography and Perfection \ A / hat is the opposite of failure? Failure allows for the possibility of parapraxis -a V V misdirected or stunted intention - refracted through inhibition, symptom, or anxiety; reasons for failure also include accident and chance. Success, on the other hand, with its connotations of wilfulness and intentionality, appears more firmly linked to the subject's will. In a cultural environment that has questioned notions of authenticity and authorship, parapraxis has sometimes become the new signifier of the authentic. Failure, in this context, refers less to an essential lack of ability, talent or knowledge. Instead, the inability to fulfil a promise, to accomplish a goal, or to finish a task represents an interruption of the linearity associated with intention. With the increasing championing of failure as sign of the authentic (a back door through which to re-introduce authenticity into a discourse that has disavowed the concept), intentionality has experienced a correlate devaluation. In particular, the art of the 1990s was characterized by the widely used connotations of failure: intention became a quality to be mocked. One example of this mockery was the association of the overly controlled with psychological disorder; thus an excess of control, of formal or conceptual stringency, carried pathological connotations equal to those of parapractical (or para-intentional) acts of failure. But while failure was humanized, control - especially in the context of popular culture - was associated with ominous pathologies, with the dysfunctional autism of the loner or the serial killer. My paper will examine the work of artists such as Thomas Demand, Gregory Crewdson and Oliver Boberg whose work - photographs of elaborately constructed environments - appears to challenge this dichotomy while at the same time engaging with the uncanny associations that these controlled constructions of a fictional reality entail. CAROL JACOBI Birkbeck College, University of London 'Colossally Bad at Art' — Victorian Painting or Critical Problem? JOANNE LEE Nottingham Trent University Failing to Fail? On the Anxieties of Art Education SARA COCHRAN Courtauld Institute of Art, University of London Painting Badly Well: The Problematics of Failure in the Works of Francis Picabia and John Currin MICHAEL R TAYLOR Philadelphia Museum of Art Doomed to Failure? Jacques Lipchitz and the Myth of Prometheus Failure T he paradox of art history is that it substitutes image with text: it privileges a different discursive method as well as different discursive formations. Our practice as art historians is therefore almost inevitably a means of denaturing, often a means of detachment and sometimes a means of destruction. Victorian painting offers a case study of this phenomenon. As the twentieth century rewrote the nineteenth, the apparent stylistic conservatism of Victorian painting excluded it from a story of modernism, while an image of ideological conservatism, repression and self-surveillance was reinforced by the narratives of cultural historians. Equally, twenty-first century criticisms display twenty-first century fantasies. Declarations of the failures of our forefathers echo those of our own society and discipline: a wariness of mimesis in a culture swamped by the mimetic image; a rejection of the 'literarization' of art from a profession busy doing just this. If the problem of Victorian painting illuminates the problem of art writing, then its solution could suggest a way forward - and the importance of this is that it is a concrete, not an abstract challenge. This paper will propose both a way of thinking about the role of art history in this case ana a practical response to Burgin's call for a 'proauctive' means of 'meshing' visual and literary texts. T his paper contends that much of the theory and criticism of art pursues an agenda of lack and disappointment concerned with how other artists, artworks, theorists or theories have failed. Art students (the artists of the future) encounter this approach from the earliest days of their study. It is little wonder that art schools seem characterized by a model of attack and defence, in which anxieties about justifying oneself take precedence over developing new, rich and complex works. Indicative of this is the fact that art students increasingly produce vast amounts of supporting material for assessment, whilst remaining emphatically uncomfortable with actually producing art works. Our current educational climate is one in which failure is considered a problem that ought to be eradicated. Whilst course documents may speak positively of risk-taking, the reality is that risking failure is not an option for either staff or students. Whereas Frenhofer - the fictional artist in Balzac's novel The Unknown Masterpiece ­once provided a compelling myth to artists, students now seek to avoid failure at all costs. This paper considers the implications of this fear of failure upon the art and artists of the future and proposes a less defensive approach to the practice and theory of art. I n 1920, Francis Picabia published a photo of himself with this inscription written I over his face: ' Long live papa Francis the failed'. More than an example of Dada nihilism, I suggest that this image is emblematic of Picabia's appropriation of failure as the practice of his later career. Deliberately rejecting good painting and good taste, Picabia set out to paint badly and did it very well. Half a century later, this would be a historical anecdote but for the fact that Picabia has recently been posited as a key turning-point in the history of twentieth-century figurative painting ana a stimulus for a current generation of hip painters like John Currin. Picabia's and Currin's works certainly share a deliberate awkwardness, a disturbing and tawdry eroticism ana a common understanaing of the bankruptcy of the iaeal of high art; they are also highly antagonist, even mocking, towaras the viewer. Expanding beyona the 1980s debate about bad painting, this paper will explore the means by which Picabia ana Currin have usea the idea of failure - specifically painting unsuitable images baaiy - to challenge the dominant styles and debates of their day, drawing criticism for the way their art looks as well as for its political interpretations. T his presentation will explore the notion of failure in the work of Jacques Upchitz (1891 -1973). ironically one of the most successful sculptors of the modern era in terms of critical acclaim and public commissions. My focus will be on the artist's exploration of the Greek myth of Prometheus, which haunted Lipchitz during the unchecked rise of Fascism in Europe in the 1930s and became the dominant theme in his work for the next two decades. Of particular interest will be the artist's ill-fated participation in the decoration of the Palais de la Decouverte (Palace of Discovery and Invention) as part of the 1937 World's Fair in Paris. The commission called for an impressive sculpture to crown one of the entrances to the Grana Palais, which housed the Palais de la Decouverte, where it would be displayed more than 40 feet above the ground. Upchitz createa a massive plaster sculpture on the theme of Prometheus Strangling the Vulture, in which Prometheus and the frightful bird are locked in mortal combat; as he chokes the vulture with his right hand, his left hand tries to wrench away the carrion claws tearing at his vital organs. Failure Jo APPLIN University College London, University of London Bound to Fail? Nauman - Moore - Westermann STEPHANIE BROWN University of Newcastle Physical Energy and Pheidian Exhaustion: G F Watts, Sculpture and Criticism MATTHEW PLAMPIN Paul Mellon Centre for Studies in British Art There's Nowt Here but Pictures': The Failure of the Manchester Art Treasures Exhibition of 1857 I will argue that Lipchitz utilized the Prometheus myth as a political allegory - in the tradition of Goya and Daumier- in which his self-proclaimed 'propaganda for democracy' addressed the imminent threat posed Py Hitler's anti-Semitic and expansionist policies. This political meaning was not lost on Lipchitz's right-wing opponents in France, who recognized the anti-Nazi message of his work, even though later commentators on the artist's sculpture did not (a failure of a different kind). Prometheus Strangling the Vulture Pecame one of the most controversial exhibits in the 1937 World's Fair and was eventually destroyed Py vandals after a malicious press campaign was waged against the 'seditious statue' in the following year. By examining the history and reception of this important sculpture - including the circumstances surrounding its destruction -1 will show that the issue of failure was integral to Lipchitz's understanding of the Prometheus myth and informed his suPsequent work on the theme, which itself often met with mishap and disaster. Between 1966 and 1967, Bruce Nauman made a series of homages 'to' or 'about' the sculptors Henry Moore and H C Westermann. Entitled respectively Square Knot (H. C. Westermann) and Henry Moore Bound To Fa/7, the works feature figures tied up in rope or knots - for example. Pound-up torsos, folded arms and tied figures. I argue that these strategies of tying, binding, knotting and folding enact Nauman's own ultimately frustrating and failed encounter with Moore and Westermann, two artists seemingly at opposite ends of the sculptural spectrum. I suggest that the somewhat surprising connections that can Pe drawn from Nauman's failed engagement with Moore and Westermann provide an alternative model of artistic inheritance and influence. This has been described in terms of a 'transgenerational phantom' that haunts future re-engagements with the past, a disruptive yet connective model of interpretation that accounts for the breakdowns and failures that underscore more traditional genealogies of inheritance and narrative/historical development. A lthough G. F. Watts was the most prolific and prominent Victorian painter from the 1860s until his death in 1904, his sculptures contributed little to his reputation. Only one -Clytie - was exhibited in his lifetime; it met with critical success and was hailed by Edmund Gosse as prefiguring The New Sculpture. However, a very different sculptural project preoccupied Watts from 1871, remaining unfinished at his death, after which his reputation rapidly declined. Physical Energy, cast in bronze and sited in Kensington Gardens, soon Pecame in effect a monument to Watts's perceived failures, a colossal convergence of the ideologically and artistically 'reactionary'. Often seen as the last gasp of retardataire academicism, exhausted classicism and Victorian bombast. Physical Energy is still misunderstood. Did Watts really intend a version of this work to be a monument to Cecil Rhodes? Was his inability to resolve the work really a failure? My paper restores Physical Energy to its proper place in the continuum of Watts's neglected sculptural productions, theories and unachieved projects. Rather than adhering to the old paradigm of classicism exemplified Py the Elgin Marbles, Physical Energy demonstrated a different understanding of Pheidianism and introduced an idiom much newer than The New Sculpture. The Manchester Art Treasures Exhibition of 1857 inspired near-universal optimism. An enormous loans exhibition arranged by prominent industrialists, its stated intention was to bring art to the industrial city and the masses who toiled within it. That middle-class businessmen would co-operate with the gentry and aristocracy (who were required to lend heavily to the undertaking particularly in the old master galleries) in order to mount a grand display primarily for the benefit of the industrial working class led many commentators at the exhibition's outset to envisage confidently a glorious demonstration of social harmony. This paper will discuss the event's conspicuous failure to fulfil these idealistic predictions. Critics identified serious conceptual faults in its administration. Many of the upper-class collectors approached for loans either flatly refused or provided paintings that were inferior, poorly conserved or inauthentic. prompting a surge of anti-aristocratic feeling in the coverage of the exhibition. In addition, workers rejected the didactic program prepared for them by their employers; attendance was lower than expected, and those that did go often behaved 'unsatisfactorily.' It will be argued that, instead of showing the social cohesion of mid-Victorian Britain, the Art Treasures Exhibition exposed its acrimonious divisions. MELISSA MCQUILLAN Wimbledon School of Art Nobody Came: Imag(in)ing the Spectator circa 1920 — Picasso, Breton, Leger and Picabia TERRI WEISSMAN Columbia University, NewYork Failure as History: Berenice Abbott versus Walker Evans MARK RAWLINSON University of Nottingham Adorno: On the Necessity of Failure Failure I n Paris during the later 1910s and early 1920s. artists ranging from Cubists-recalled­to-order to Dada provocateurs contributed to a constellation of theatrical and performance manifestations. This concentrated episode deployed diverse strategies that collided and responded in lively dialogue; yet with little direct issue, partial traces and ambivalent acknowledgement, it has appeared - like a sneeze ­as a brief interference in the modernist project. At the outset, Cocteau, Picasso, Satie and Massine's Parade (1917) offered a prescient allegory: its characters performed their street-side acts to attract an audience into the main show but, as the programme note explained, the public mistook the publicity for the interior spectacle and failed to enter. In 1924, the very title of Picabia, Satie, Borlin, and Clair's Re/ache subversively undermined the endeavour: no performance, theatre closed. This paper proposes that this cluster of intersecting practices symptomatically evinced the artist-participants' anxieties about their public. Examining selected works, I will focus on their attempt to transform pictorial and theatrical traditions as a means of composing an audience and situating the spectator, ana will consider their contradictory enactment of the impossibility of this aim. T his paper compares two projects from the 1930s: Walker Evans and Lincoln Kirstein's American Photographs, and a photo-book designed, but never completed, by Berenice Abbott and Elizabeth McCausland. Both projects sought to document the United States by creating a 'collective portrait' of the nation. But where Evans and Kirstein's American Photographs enjoyed and enjoys widespread critical success - indeed, is today considered a canonical work - Abbott and McCausland failed to secure the funding necessary to complete their venture. Out of this disparity, the following questions emerge: if we accept the premise that masterpieces are manufactured, what forces - social, economic, aesthetic and otherwise - contributed to the apotheosis of American Photographs, and was it the same or some other set of influences that relegated Abbott ana McCausland's similar project to the dustbin of historical failure? I argue that Abbott and McCausland's conception of a realist documentary practice, although on the surface akin to that of Evans and Kirstein, was in fact categorically different from it. For example, in contrast to Abbott and McCausland (whose ethical ana political commitments guided them to construct an immediately material America), Evans's less ideological stance allowed him to create a purposely-symbolic place - an America meant to look 'real,' but be fictive. This difference made it aesthetically and socially impossible for Abbott and McCausland to receive support for their project. In demonstrating the limitations imposed by 'official' art institutions, this failure, though it frustrated Abbott, also inspired her to work in contexts both unexpected and non-traditional. F or Theodor Adorno, the condition of failure is not the end but the beginning of interpretation. The incomplete, unfinished, fractured or obvious mistake, once identified, should never be glossed-over, overlooked or ignored. In fact, the identification of the moment of failure should compel the critic to pause and investigate further. With Adorno in mind, this paper will address failure in relation to the art historical category of Precisionism and the work of the chief exponent of Precisionist painting and photography, Charles Sheeler (1883-1965). From an Adornian perspective, I will argue that Sheeler's paintings and photographs themselves undermine rather than support the art historical notions underpinning Precisionism: Sheeler's works are imprecise ana, because of this, they fail to be Precisionist. However, this begs the auestion, what has failed? Is it the artworks or the category itself? If, as appears obvious, the category is a failure, by what other means can we judge the success or failure of Sheeler's or any other artist's work? I hope to show, beyona the specificity of a meditation on Sheeler's work, that the necessity of failure articulated by Adorno is crucial for a critical art history. 43 Houses - Old & New JAMES LINDOW Victoria & Albert Museum/Royal College of Art A house is a building, but it can also denote a family. Just as an 'old' family could decide to build a 'new' house, often reusing elements of the existing building, so too could a 'new' family elect to move into an 'old' building, thereby appropriating the antiquity of both the structure and its previous inhabitants. As fashions in building and decoration evolved, houses could be modified or updated to reflect contemporary tastes. In such cases what effect did this have on 'old' and 'new' objects? Studying inventories offers possible explanations, as well as providing an insight into household organization. Similarly, the language used to describe both objects and the spaces they occupy informs the distinctions between 'new' and 'beautiful' objects, or 'old', 'used' and 'ancient' items. Were broken or old-fashioned pieces discarded, mended, or sold on? Could heirlooms have a primarily sentimental value, or are they proof of the age of a lineage? Could they, or cheaper substitutes, be acquired and used by 'new' families? If so, what 'new' meanings were imposed upon such 'old' objects? The session addresses these and related issues for the period 1400-1800, with papers from scholars working on a range of European centres. This diverse context provides an opportunity to explore developments in houses and their interiors across Europe. KEVIN J.F . MURPHY The British Institute in Florence Arranging Household Objects for Memory and Change in Renaissance Florence. The inventories of Palazzo Bombeni 1388-1545 K ,4 uch recent scholarship has successfully enriched our understanding of the I V I Florentine house during the Renaissance. However, many studies misleadingly tend to imply that the arrangement of household objects was fairly static, reflecting the tidy, stable needs of a given household head. This paper attempts to present a more representative scenario of domestic objects in a state of almost constant mobility, and will suggest that the complicated flow of furniture and artworks in and out of rooms, hallways, staircases, courtyards, and even between buildings, was quite normal. Within this process new acquisitions were inserted, and old objects were arranged in new ways. The causes were many, and were not simply the result of shifts in taste: household inventories found inlibri di famiglia and ricordanze are interspersed with other records that reveal why. Many 'new' items were purchased, but others came in the form of gifts that required fairly conspicuous placement somewhere in the house. Items were frequently lent from one household to another. People moved, and if an established family group arrived in a 'new' house their 'old' possessions were arranged in a way that took account of the particular spatial or historical characteristics of the new setting. If that building's fabric was altered in any way through further building work the arrangement was necessarily adjusted. And as the form and size of the household unit modified through cycles of birth, death and marriage, the usage and fittings of room space evolved accordingly - then both the functions and meanings of the many of the home's objects changed. This paper draws evidence for the continuous process of placement, replacement and reinterpretation from the experiences of many different families throughout fifteenth-century Florence, but principally from the case of the Palazzo Bombeni, a conspicuous fourteenth-century palace where between 1388 and 1545 ten exhaustive inventories (largely unpublished, some as yet unused) were made that describe the shifting interior configuration and contents of this large palace, occupied in succession by two prestigious families, the proud, impoverished Bombeni lineage and the wealthy, socially ambitious Minerbetti. Typically, both families owned several cassoni and deschi da parto, but where the Bombeni had displayed lances and swords, for example, the Minerbetti hung portraits of the Medicean rulers of the city. The palace saw a veritable 'traffic' of goods and furnishings, whose nature and placement reveal much about the ways that objects in a domestic setting were used simultaneously to construct memory and to emphasise change. PAULA HOHTI University of Sussex Beyond the Palace: Old and New in the Homes of Sixteenth-Century Sienese Artisans W ith a few significant exceptions, most studies of domestic interiors have tended to focus on the homes of the wealthiest and most powerful members of society. Gaining access to the homes of those who lie below the political elite is often problematic due to limited evidence and problems of definition. In this paper, I will draw on the household inventories and tax records presented by innkeepers, retailers and artisans such as barbers and tailors to explore the range of goods that were in their homes. The inventories raise particular questions concerning the mixture and histories of the goods that are listed. My paper specifically asks: GlORGIA MANCINI Royal College of Art/Victoria & Albert Museum From One Palace to Another: Cardinals' Collections and the Mobility of Artworks in Sixteenth-Century Rome ESTHER MUENZBERG Independent Scholar A New Type of House for the Representation of an Old Cynasty: the Electoral Stable in Dresden about 1600 LUCY WORSLEY Historic Royal Palaces The Duke of Newcastle's 'New Castle' at Nottingham: Re-examining the Seventeenth-Century 'Power House' Houses - Old & New • what did 'used', 'old', and 'worn out' mean in these contexts? • what did 'used', 'old', and 'worn out' mean in these contexts? • what can we say about the relationship between an individual's economic status and the value and quality of his or her objects? Particular attention will be paid on decorative furnishings and other items that can be described non-necessities - i.e. items that are normally associated only with the elite. C ardinals were the protagonists of the art-collecting scene in sixteenth-century Rome; they assembled important collections of antiquities and art objects. What happened to these collections on the death of their owners? When the owner died leaving many debts, his heirs would try to sell a good part of the collection, if not its entirety. In these cases old collections were purchased to form the core of brand new collections. In other cases single pieces were re­circulated on the market, satisfying the desire of collectors. Sculptures, paintings, and precious objects could therefore be moved from one palace to another, and displayed within a different context. Objects which had been collected and arranged with a certain order in the dwelling of their first owner entered a new stage of their life-cycle: they would be part of a new domestic sphere, and find their place in a differently organised space. Because they had been part of a previous collection, artworks were attributed a special value: they were more desirable, and they could be appreciated and used in various ways by their new owners. Some case studies, such as the dispersion of the collection of cardinal Rodolfo Pio da Carpi (1500-1564), will be used to analyse the mobility of artworks in mid-sixteenth century Rome. J uly 6th of 1586: Two men - the Oberstallmeister Nickel von Miltitz and the Zeugmeister Paul Buchner - went to lay the foundation stone of the new Stable- and Armoury-Building, the first and also very ambitious project of the young Saxon elector Christian I. The ground floor of the building formed the place for the 128 best horses of the elector and all necessities for them. The upper floors contained the uncountable objects of the Rust- and Harnischkammer, exactly arranged in 24 chambers and two apartments, the programmatic heart of the whole building. The combination of stable for the precious horses and a dynasty-glorifying collection seems odd, but with a clarifying background that type of 'house' appears as a sophisticated construction, which can be found in nearly all residences in Europe in the last quarter of the sixteenth century. It seems that the beginnings of this trend can be found at the Habsburg courts in Vienna, Prague and Innsbruck. But the Florentine Medici court is also of high importance for trie German courts. Playing with the different facets of princely representation, such as: • creating a microcosm like the 'Kunstkammer' and other collections, • triumphal shows recommending medieval tournaments as well as antique triumphal processions. • the symbolic meaning of the horse as a princely riding animal, for example is the clue for understanding the boom of such stable buildings. As a result of this, a new type of house was introduced and used for demonstrating the importance of the Saxon dynasty and duchy among the others, which also represents the high age of the whole dynasty (in this case more than 1600 years). The structure of this type of building is, in its special quality, a typical expression of the communication of the time: speaking in emblems, in symbols and in correspondences. ontemporaries often linked William Cavendish, first Duke of Newcastle's (1593-1676) choice of title to his sensational building projects. His seventeenth-century houses (Bolsover Castle, Nottingham Castle) are usually described as 'power houses', designed to impress social equals and to win respect. But this explanation does not work for Nottingham Castle, built when its patron was over 80 years old and living in country retirement. An alternative argument lies in the family politics surrounding the project. William had quarrelled with his son, his only male grandson was dead and his beloved second wife had just died. Why would a tired old man begin such a demanding project? The logistics of the process suggests that his friendship with his family and household forced him into the decision. Setting aside the difficulties of Houses - Old & New the evidence (the house was later burnt by rioters and re-faced), the design has its roots in several of William's earlier projects. Rather than labelling Nottingham Castle as courtly or provincial, its design qualities are uniquely Cavendish: the result of the household as a whole being involved in the building process over a lifetime's activity by its patron. This suggests that the Cavendishes have their own version of a particularly seventeenth-century model of history. Rather than seeing the past 'as a foreign country', they saw it as a different part of the present. KATE RETFORD This paper seeks to demonstrate that, whilst the eighteenth-century elite portrait I was clearly a fashionable bespoke item, it was also frequently conceived as a Birkbeck College, University of London key component and continuation of the sitter's country house portrait collection. Various stylistic devices, the alteration of extant images and careful hanging 'So Fine a Series of Portraits': schemes helped individuals to meld the old and the new, thereby creating Displaying the Family in the coherent visual narratives of ancestry, lineage and political affiliation. English Country House I will focus in particular on the portraits at Rousham Park in Oxfordshire. In the 1760s, Lady Jane Cottrell-Dormer converted a painting of her most notable ancestor. Sir Julius Adelmar Caesar, from a head and shoulders image to a full-length format and enlarged a portrait of Queen Elizabeth I, to whom Adelmar Caesar had been a medical advisor, to the same dimensions. These images, together with her own full-length, fashionable portrait by Benjamin West, were then set into matching fixed rococo frames in her newly redesigned parlour to create a coherent scheme. Such manipulation of imagery to link old and new portraits and thereby emphasise lineage can also be seen in a portrait of Lady Cottrell-Dormer's husband by West, featuring a large jewel hanging around the sitter's neck. This heirloom had been in the family since Charles II had presented it to Sir Charles Cottrell in gratitude for his loyalty during the civil war. From that point onwards, successive generations of heads of the family had sought to align themselves with their notable ancestor by including this attribute in their portraits. Histories of Gender: New Femininities and Modern Identities 11 MEAGHAN CLARKE AND SARAH CHEANG University of Sussex ow have new gendered identities been employed to articulate modernity within visual and material culture? This session will offer a discussion on femininity within the study of art history, and consider different approaches to histories of gender. Fresh work around the fin-de-siecle New Woman I will be addressed as well as a range of contexts for the portrayal of new femininities and modern identities. KATHRYN BROWN Birkbeck College Imagining Modernity: The Woman Reader in Manet, Degas and Cassatt Th e figure of the male flaneur is central to characterizations of modernity in the 1 works of Baudelaire, Benjamin and de Certeau. This image has been countered by historians such as Griselda Pollock, Kathleen Adler and Tamar Garb by way of a re-evaluation of the art historical tradition and a consideration of feminine responses to modernity based on depictions of the lives of women in the suburbs of Paris. I consider a recurring image of women in avant-garde painting in France towards the end of the nineteenth century that associates women with life in the modern city in a way that makes them neither part of the tradition of the male flaneur, nor directly opposed to it. The image is that of the woman reader. I argue that solitary reading is depicted as an exercise of privacy in public and as a means of interacting with the city through the exercise of the imagination. The theme is considered in images of women at both work and leisure. Depictions of the woman reader are interpreted as a new approach to the problem of modernity and as an experiment with ways in which women negotiated the changing space of the modern city. KIMBERLY MORSE JONES University of Reading Elizabeth Robins Pennell: A Forgotten New Art Critic (1890-1895) f he purpose of this paper is to bring to light the art-critical writings of Elizabeth I Robins Pennell. Pennell, who was a part of a group of art critics that emerged in the late 1880s, early 1890s in Britain called the New Art Critics, wrote art criticism that would have been considered extremely radical for her time. The New Art Critics not only championed the new painting, which for the most part was coming out of France and had yet to find a receptive audience in Britain, but also employed a formalist method, which only a minority of contemporary art critics adopted. I will begin the paper by introducing Pennell in the form of a brief biographical account. Next, I will describe the relationship between women and art criticism at the end of the nineteenth century, explaining that although female art critics were by no means oddities, Pennell was extraordinary in that she was the only female art critic to write criticism of this nature at that time. Then I will attempt to define the New Art Criticism by presenting a succinct account of its emergence and description of its methods and tenets, concentrating on exactly what made it different from existing art criticism. Finally, 1 will consider the circumstances that enabled Pennell to infiltrate this male-dominated sphere and explore her role in the New Art Criticism, arguing that in some respects she was the most progressive critic of the group. FAE BRAUER University of New South Wales Feminizing Muscle: Bodybuilding the New Woman T he idea of woman as the weaker sex will become old fashioned and finally obsolete, announced Prentice Mumford in 1872. With 40 Feminist newspapers and journals in France by the time La Fronde joined L'Action in 1905, his prediction appeared to have come to fruition. Women were enrolled at the Ecole des Beaux-Arts, the National Conservatory of Music, Law and Medical Faculties, while practising as academics, artists, barristers, physicians and scientists. By 1910, women were candidates for the Chambre although still denied suffrage whereas, as Therese Pottecher pointed-out, 'any male drunkard could stagger to the ballot-box'. Yet for all their intellectual and professional incursions, the 'new woman' still needed to achieve independence of body. While recognized by such feminists as Madeleine Pelletier, this was demonstrated by a spate of professional women bodybuilders who, through their feminization of muscle, denaturalized the binary reifications of gender. In her 1914 pamphlet on a Feminist Education for Girls, Pelletier argued for an egalitarian school education in both mind and body, in order for woman to become independent of men. Consistent with her colleague, Caroline Kauffman's treatise on the importance of combining physical with intellectual and ethical education, Pelletier advocated fitness for girls not just through physical culture at school, but community gymnasiums and stadiums. Rather than girls' physical Histories of Gender FRANCESCA BERRY University of Warwick Designing Femininities: Subjectivity, the Interior and the Woman's Magazine in Early Twentieth-Century France PAMELA GERRISH NUNN University of Canterbury, New Zealand The Woman of Today: Laura Knight 1910-29 education being limited to riding, field sports and swimming, she demanded it be expanded. Taking this one step further, Pelletier argued for women to pursue sport not just as a source of fitness and physical independence, but as a career. Inspired by the attainment of world-renowned status by woman bodybuilders, Athleta, Sandwina and Vulcana, she envisaged women consolidating into professionals associations of fencers, boxers, cyclists, automobile drivers, pilots and bodybuilders. Due to the aestheticization of feminized muscle by popular photography and Salon artwork, as well as its critical commemoration for creating the new Venus de Milo, Pelletier also envisaged woman's body could be liberated from the performative straight-jacket of social regulation, cultural inscription and what Judith Butler calls 'corporeal style'. Hence through an examination of these interrelations forged between French Feminists, professional bodybuilders, Salon artists and popular photographers in fin­de-siecle Paris, this paper will explore the cross-disciplinary intersections incurred in 'bodybuilding the new woman'. Drawing upon Butler's 'Gender Trouble', it will also explore how in redeploying values that appeared to belong to the masculine domain, the feminization of muscle exposed the tenuous demarcation of genders, the cultural fiction inherent in gender performativity and the false naturalization of woman as the weaker sex. 1 n this paper I propose to analyse the interior decoration and design pages of I early twentieth-century French women's magazines as sites for articulating modernity through the construction of new femininities. In accordance with their multivalent structure, modern women's magazines constructed the interior, like the magazine itself, as a metaphor for the imaginative negotiation and performance of a range of ideal feminine subject positions. Detailed analysis of key examples such as the popular society and fashion magazine Femina (1901-1938) will demonstrate the innovative textual and visual representational strategies used to engage readers in the discourses of interior decoration and design. At the turn of the century the interior functioned as a metaphor for the self held within. This extended further than the familiar discourses of personal taste. Complex phenomenological concepts were used to promote the inherited interior as profoundly, even mnemonically. significant for the female subject. The emergence of professional interior design, with its discourses of divestment and rationalization, visually staged in 'before and after' articles, constructed the modernist interior as a metaphor for the psychological transformation of the female subject and a site for the elaboration of new femininities. This paper will consider how old and new notions of femininity were elaborated in relation to the shifts from the historicist interior to the modernist interior and from the magazine as textual to visual and graphic media. The processes of modernity enabled newly professional forms of female agency to be actualized in relation to the magazine: the interior designer and the professional journalist. Moreover, modernist processes strove to transform the interior and by association produce new models of femininity released from domestic ideology. However, by divesting the interior of its individual mnemonic significance, I will argue that these new femininities were imagined without subjectivity, without a self to hold within. L aura Knight, born in 1877, came to prominence as a painter in Britain during the first decade of the twentieth century and rapidly proceeded to a visibility which made her to cultural commentators and the public alike the flag-bearer for the species 'female artist'. At the same time, her own self-fashioning through various key works (e.g. Daughters of the Sun. 1911; Self-portrait, 1914; Go/den Girl. 1927), interviews and press photographs, and carefully costumed public appearances rendered her a prominent example of the modern woman. This paper examines how the identity of artist played within this notion of modern womanhood, exploring the interaction between such key indicators of artistic acceptability as stylistic affiliation and subject-matter and such insistent markers of the acceptable and unacceptable woman as marital status, sexuality and personal appearance. It will concentrate on the various images of contemporary woman generated by and around Knight from 1910 to 1929 (when she was created Dame of the British Empire) which constructed an idiosyncratic, negotiated melange of femininity, masculinity, tradition and transgression, giving Knight and her work pre-1930 a far greater interest than her overall standing in the history of art would suggest. Histories of Gender JOANNE HEATH University of Leeds The New Woman as Old Woman: The Question of Age in Representations of/by Suzanne Valadon KRISTINA HUNEAULT Concordia University Whose Name at Stake? Women, Art and Travel in Colonial Canada NINA LAGER VESTBERG Birkbeck College, University of London The Independent Woman: Simon de Beauvoir at the Deux Magots I n the guise of model/mistress to a series of Impressionist masters during the late i 1880s, Suzanne Valadon hovers in the footnotes of many accounts of modernist art. Her unconventional lifestyle has also merited a number of sensationalized biographies; life narratives which have, however, tended to overlook the fact that Valadon was also a highly successful artist who continued to exhibit work regularly up to her death in 1938 at the age of 73. The longevity of Valadon's professional career as both artist and model thus spans an historical moment of significant transformation in the social, sexual and artistic possibilities available to women in the early twentieth century. This paper will explore certain tensions in biographical writings between their troping of Suzanne Valadon as a beautiful, young model during the 1880s/90s and their subsequent portrayal of Valadon as an 'old' woman during the 1920s/30s. It will examine representations of and by Suzanne Valadon as an ageing woman artist, contrasting Valadon's complex attempt to imagine the mature female body as the site of creative agency in her late self-portraits with the virulent misogyny that comes to be expressed towards Valadon as an older, but still sexually active, woman in subsequent biographical narratives. r his paper proposes to examine the cultural production of Frances Anne Hopkins in the context of travel theory and its relation to subjectivity. The British-born daughter of an arctic explorer and wife of a Hudson's Bay company chief factor, Frances Anne Hopkins lived in Canada for twelve years (1858-1870). During this time she made at least two voyages from Fort William to Montreal in canoes manned by Mohawk voyageurs from Kahnawake. They were month-long journeys that Hopkins would memorialize in paint for the next fifty years. Hopkins's extreme attachment to the subject, combined with the fact that she often painted herself into her canvases, suggests that her depiction of canoe travel resonated at the level of the self. In this paper, I will propose that the force of that resonance stems partly from the intersection of cultures and identities that Hopkins experienced. She was a woman in a world of men; an Imperial subject from the metropolitan centre in the remote Canadian backwoods; a European dependent on Aboriginal skill and knowledge; an upper middle-class tourist among labourers. While such divisions might be thought to furnish a straightforwardly oppositional framework for subjectivity, I will suggest that the issue cannot be so simply conceived. The gendered and classed colonial subject was always operating in terms of inter-cultural conditioning, and the intersection of cultural interests is an issue of current concern. An anecdote makes this point: Mohawks from the same community that furnished voyageurs for Hopkins would travel to the Nile in 1884 to suppress the rebellion of indigenous peoples in the Sudan. Like colonialism, inter­cultural contact works in strange ways. In my paper I will explore the paintings of Frances Anne Hopkins for signs of a similar complexity. his paper will suggest seme ways in which Robert Doisneau's photograph of I Simone de Beauvoir writing in the Cafe des Deux-Magots in Paris can be said to have contributed to the formation of a feminist icon in the postwar era. Produced in 1944 - the year of the Liberation and of women's right to vote in France and five years before the publication of The Second Sex - this photograph offers a salutary image of a woman who is 'at work' yet at the same time appears comfortably 'at home' in a public space. This point will be elaborated by relating the photograph back to examples from nineteenth-century visual culture which depict a rather different type of 'working girl' in Parisian cafes. It will thus be suggested that the photograph exploits, and simultaneously subverts, the iconography of canonical 'paintings of modern life' by artists like Degas and Manet, in its representation of a woman whose life appeared to challenge the rules of the patriarchal exchange system. The paper will then ask to what extent this image might be said to offer a vision of a 'feminist' lifestyle and, if so, whether it is a lifestyle women would want. Dematerialization: The Entry into Post-modernity 2 JONATHAN VICKERY DIARMUID COSTELLO University of Warwick Oxford Brookes University n the history of art there cannot be a shorter chronological period that has been ascribed the status of cultural epoch than 1966-1972, the years surveyed by Lippard's classic document, Six Years: The Dematerialization of the Art Object from 1966-1972 (1973). The art, criticism and theory of this epoch still provide key historical reference points for contemporary art in Britain and in the USA, and have been instrumental in securing the intellectual priority of New York for subsequent debates around postmodernism. In dominant art historical narratives Minimal art, anti-form, systems, conceptual art, earth and process art have been characterized as the entry into artistic postmodernity, decisively challenging the hierarchies of aesthetic value embedded in the forms, materials and mediums associated with modernism, its institutional spaces and conventions of viewing. How did the aesthetic concepts that emerged during these six years - repetition, seriaiity, theatricality, process, materiality, negation, structure, and the situated, embodied beholder - inform the first waves of theoretical speculation on the character of artistic post-modernity? Was the process of dematerialization conceived in terms of the complete dissolution of 'the aesthetic' as a unique category of experience, or did the movements of 1966­ 72 offer a radically transformed conception of the aesthetic? Is our understanding of 1966-72 locked within the post-modernist critique of modernism? Or does the art and theory of this epoch offer the intellectual resources to think beyond the current congealed radicalism of postmodernist paradigms? KATERINA REED-TSOCHA Trinity College, University of Oxford De-Aestheticization at Last! KIRSTIE SKINNER College of Art, Edinburgh The 'Pleasures of Perception' in Serial Art T he starting point of this paper is the thesis that the artistic developments of 1966­ i 1972 do not represent a point of rupture with the practices of Modernism but, rather, as Charles Harrison has argued, its recovery as a critical practice 'from a Modernist protocol that had Pecome manipulative, Pureaucratic, and univocal'. However, to pursue continuities with earlier avant-garde practices, including Duchamp's anti-retinal, an-aesthetic art, does not imply that the very concept of 'the aesthetic' should Pe retained. On the contrary, I will argue that the artistic practices of minimal and conceptual art bring to the foreground the competing concept of 'the artistic', which on this occasion stands in opposition to Greenbergian notions of aesthetic autonomy, the obsession with purity, and the vaguely Kantian idea of the self-critical medium. To consider the possibility that these practices offer, instead, a 'radically new conception of the aesthetic' would have to re-instate the aesthetic against its philosophical condemnation as a conceptual 'suspect', a 'phantom', a 'myth', or, at best, outdated. These continuities in the critique of the aesthetic - carried out by contemporary American philosophy on the basis of paradigms other than conceptual art - point beyond the rejection of Greenberg's and Fried's notion of opticality to the Kantian grounding of the concept in a set of attitudes specific to the eighteenth century, which include disinterestedness, a continuity with the contemplation of nature, and, in the epistemological field, the separation of the faculties. The process of 'outdating' these attitudes began well before the 1960s; in fact it can be located in the privileging of the 'artistic' by the early avant-garde. In this sense, de-aesthetization does not entail surrendering to postmodernity. 11 will be the contention of this paper that the serial tendency initiated by I minimalist painting and sculpture, and continued in the diverse practices of Dan Graham and Robert Smithson amongst many others, exemplified a 'crossroad' moment, in its productive combination of philosophy Odea) and concrete performativity (action). At the time, both values were offered as alternatives to Greenberg's formalist obsession with aesthetic quality. From today's perspective however, these rhetorical oppositions between 'aesthetic' and 'conceptual' criteria, and between an 'aesthetic' and a 'theatrical' experience, seem dogmatic. They give an inadequate account of the nature of the spectator's interaction with 1960s art works, and they represent an over-simplification of the dialectical nature of the aesthetic identified in key historical texts. A reconsideration of the interrelation between the perceptual and conceptual components of an aesthetic experience might allow a reformulation of the aesthetic, this time informed by the particular viewing experiences offered by the serial art of the late 1960s, rather than developed in contrast to it. 50 MATTHEW RAMPLEY College of Art, Edinburgh Jack Burnham: Towards a Systems Aesthetics GAIL DAY Wimbledon School of Art Vicissitudes of Negation DAVID GREEN University of Brighton Between Mind and Body: Conceptualism, Performance and the Politics of Labour JOANNA LOWRY Kent Institute of Art and Design Playing with Time Dematerialization: The Entry into Post-modernity I n the late 1960s American critic Jack Burnham produced a series of critical essays I which, beginning with 'Systems Esthetics' of 1968, explored new paradigms for analysing contemporary art. In part influenced by Marshall McLuhan, Burnham turned to the metaphors of network, system and structure as the basis of a new kind of art criticism. Although possessing numerous latent possibilities, Burnham's work ultimately fell short of its goal. The metaphor of the network came to be figured literally, in the exhibition Software of 1970, in terms of computer information processing and other interactions of art and contemporary technology. Indeed, it was only in the 1980s that the possibilities of these metaphors were taken up and this time it was not in the United States, but in Germany, in the work of the social systems theorists Niklas Luhmann. In his analysis of art, Luhmann offers a radical challenge to traditional notions of art, taking up and refining to a highly abstract level of conceptual sophistication, the metaphor of art as a system and as a network. This paper will explore some of the ideas of both Burnham and Luhmann, considering their status as a specifically postmodern critical discourse on art. y paper will consider the role of the concept of negation, exploring its multiple i profiles through the 'six years' highlighted by the session, and, more especially, tracing the vicissitudes of its various legacies for subsequent practices and writings on art. 'Negation' is now part of the routine language of cultural debate, and deployments of the concept crop up everywhere. Sometimes its presence is explicit, more often implicit. It may be a rhetorical gesture, a means to shape the identity of a practice, a determination of aesthetic-political values, a way of grasping or framing historical developments, a claim about the nature of representation, or just a sales pitch. More interestingly - particularly for this session's theme, and in the light of the emergence of a field commonly identified as 'postmodern' - negation may be consciously rejected in one of its manifestations only to return in another. Drawing on a wide range of theorists (from Adorno and Marcuse, Debord and Cacciari, to Negri, Agamben and Ranciere), I will be exploring negation as both an aesthetic and politico-philosophical modifier, and considering the problems it posed in a context where fresh generative tensions emerged between dialectical and nihilist conceptions. R econfigurations of the art object by avant-garde practices of the later 1960s and early 1970s consequentially involved a fundamental shift in the idea of what an artist does and what the actual making of a work of art might involve. In marked contrast to the dominant conceptions and representations of the nature of artistic 'creativity' that had come to characterize a previous generation, artists seemed increasingly concerned to theatricalize the practice of art as either intellectually or corporeally laboured. Whilst analytical conceptual art counter- posed the notion of art as 'expression' with that of art as form of mental work, some artists involved in performance-based practices engaged their own bodies in seemingly mindless, repetitive and futile actions. As different as they may appear such exaggerated displays of erudition and learning on the one hand, and useless and unproductive physical activity on the other hand, might both be regarded not only as responses to changes within the political economy of art but also symptomatic of significant shifts within the culture at large and open to an allegorical reading in terms of a post-industrial society in which 'art' finds itself reconfigured amidst changing notions of 'work' and 'play'. j he period of the later 1960s and early 1970s marked an important shift in ideas i about art's production. Many of the activities that were recorded in the studio were resolutely non-productive in any conventional sense - characterized by endless repetition, aimlessness, monotony and sometimes ironically mimicking alienating forms of factory labour. One way in which to begin thinking about such practices is through their involvement with the peculiarly modern concept of boredom. This paper considers the legacies of conceptualism and performance art in examples of contemporary art practice which celebrate the alternative economy of boredom and which see the monotony of the everyday as the site of a kind of negative productivity -a site in which the transient, ephemeral and contingent can be re-inscribed with value. Such practices are often characterized by the recording of aimless, everyday activities. Photography and video have emerged as technologies for the interception of such non-events, as media that are themselves inscribed within the economy of boredom and the everyday: arbitrary, non-intentional, excessive and contingent. It will be argued that these forms of practice engage with concepts of time, production and reproduction that represent a fundamental challenge to ideas about productivity, value and history within mainstream culture. Dematerialization: The Entry into Post-modernity TIM MARTIN Leicester School of Architecture Rematerializing Robert Smithson in the Cult of Sustainability ALISTAIR RIDER University of Leeds Formal Matters and Aesthetic Redistribution: Andre and the Critics D erhaps the very format of Lucy Lippard's Six Years: The Dematerialization of the i Art Object from 1966-1972 (1973) speaks of the predicaments of carrying on the usual business of criticism in the face of an emergent art that displayed such scepticism towards the fixity of form. Certainly at the time a good number of critics pointed to this predicament, including Chandler and Lippard in their Art International article on art's aematerialization. But in this paper I consider what might have been at stake for artists in willing the aematerialization of critical response. I'll take my terms from Barbara Rose, who, I think, felt the abrasions the most urgently. She realized that the intention of artists was not to make art that wasn't sellable, or that upset their patrons, but made them - the professional critics - something of a redundancy. She knew well enough that other values were at stake, values that aian't have much time for her art historical ana critical talents. 'If one wanted to read a political message into recent American art,' she confiaea portentously to her readers of New York Magazine, 'it would be that this country is on the way to some form of socialism.' Here, I'll be reappraising the form of Carl Andre's sculptures from this perspective. GORDON HUGHES University of Maine 'Lack of Charisma can be Fatal'. Or Jenny Holzer's Art after Art after Philosophy. T aking issue with a recent strain of criticism that extenas a dialectical line from the language-basea Conceptual work of Joseph Kosuth and Lawrence Weiner to the language-based work of Jenny Holzer, this paper will propose an alternative, non-dialectical reading of Holzer's linguistic engagement with conceptualism. Holzer's work, as it is frequently claimed, makes explicit the operations of power that were otherwise inadequately accounted for by Conceptualism. Power and its effects are the substance of Holzer's signs. And yet the reading of power as it functions within Holzer's work has remained paraaoxically hidden. Holzer's concern with power is not, I will argue, a simple foregrounding of the mechanics of power. It is not (or is not simply), as it has so often been understood, an attempt to lay bare the media effects of power as it assumes its ideological form in language. Contrary to this dialectical view of Holzer's engagement with Conceptualism, I will argue for another model of power within Holzer's work—a affirmative model of power that is, above all, a will to power. THOMAS LANGE University of Amsterdam Palermo, Post-modernism, and the Eye T he paper briefly examines Robert Smithson's philosophical interests in materialism as a way of explaining his strong objections to 'dematerialization' and conceptual art. These movements imagined an arena of pure disembodied ideas that ignored the material nature of the mind. As a raaical materialist, his sculpture and writing rejected the visual puritanism of Greenberg, but also sought a wider stripping of cultural iaealism. The critical force of Smithson's commentators (Craig Owens, Rosalind Krauss) secured a considerable institutional legitimacy for his work that has since produced a depressing victory. Unfortunately, Smithson's best efforts to influence culture have ultimately been thwarted by his best critics. Smithson suggested that post-modern culture should build monuments to the ways in which we forget the future. In his aay this was predicated on the futurelessness of cold war atomic annihilation. Thirty years later the dominant cultural mythologies are being spun around the concept of sustainability. The paper concludes with comments on how the implementation of Smithson's concept of entropy in mind and matter, as a reworking of the traditional dialectic of culture and nature, can provide a powerful corrective to the contemporary ideology of sustainability. B y the time Lucy Uppard's Six years: The Dematerialization of the ArtObject was publishea, the German artist Blinky Palermo (1943-1977), 'masterstudent' of Joseph Beuys. was reviewing the historical conditions of 'modern painting' in order to define the very conditions of the visual arts within the highly theoretically loaaed debates of his time. Following, not rejecting, the theoretical aebates about the 'end of painting', the 'vanishing of the author', and the blurring of the boraers between term, word, thought and image, Palermo's art is a serious struggle to create forms of painting that directly aim towards the visual perception of the beholder. Referring to the most recent debates about 'iconic' or 'visual turns' in art history, this paper investigates how Palermo's radically transformed conception of the aesthetic elaborates vision and visuality as key factors for the re-definition of the human being in a world that has been turned out to be blind ana confused. His reference to (and modifications of) early romantic ideas of art and society (Runge, Novalis) are worth consiaering in this light. 52 MICHAEL CORRIS University of Wales, Newport Conversational Aesthetics and Conceptual Art: Democratic Renewal or Cultural Backwater? INES GOLDBACH University of Freiburg The Museum as Artist's Space ­New Phenomena in Art Demand New Institutions Dematerialization: The Entry into Post-modernity \ A/ hat, precisely, does 'dematerialization' enable? This question will be V T examined from multiple viewpoints: that of the artist, the observer, the cultural manager, the critic, and the historian of art. Certain practices associated with historical Conceptual art claimed to revise the status of the work of art and the subject position of the spectator by imposing significantly different demands and conditions on viewing and interpretation. Contemporary practices in art that rely on web-based platforms and allow for a degree of interactivity may also be said to have a common concern with the exploration and development of what might be termed a dialogical or conversational aesthetic. In both cases, substantial claims are made for the establishment of a new type of spectator, for whom the work of 'looking' has been transformed into a species of performance, collaboration, or co­creation. This paper will consider these claims in terms of examples of practice drawn from the 1970s to the present, including the web-based reconstruction of a 1973 Art & Language project and a more recent interactive CD-ROM. A central question to be addressed will be the ontological stability of works of art that are dependent upon the dialogical engagement of a spectator for their realization relative to so-called static or conventional images. This raises the possibility of an uncomfortable continuity between the work of Conceptual art, web-based practices and specific practices in more traditional media. n 1973 Lucy Uppard tries to break through the common pattern of describing an historical epoch in art with her publication Six Years: The Dematerialization of the Art Object from /966 fo /972. The whole text and its structure reflect a novel idea within contemporary art and its reception. Her paper mirrors the openness of the new art and the parallelism between different artistic positions. But although the document has been reviewed and discussed to a certain extent, and although some of the artists were shown in international galleries, the question has to be answered: in what spaces was this new aesthetic and its transformed concept of perception experienced during these years. In places other than New York it was simply almost impossible to see this new type of art. Additionally the publication itself offers only a few images of the new art. The question remains: where were the institutional spaces or museums that made these new ideas vivid and accessible to the viewer. I will be discussing the Hallen fur neue Kunst Schaffhausen in Switzerland and its unique role in pioneering an institution without prescriptive conditions of viewing. The Finest in JLrt History from (BfacfiweCC(Pu6fishing and the Association of JLrt Historians ART HISTORY Journal of the Association of Art Historians Edited by Deborah Cherry & Fintan Cullen The journal Art History provides an international forum for original research relating to all aspects of the historical and theoretical study of painting, sculpture, architecture, design and other areas of visual culture. www. 6(acfyvt£[pubCisfiing. com/journats/ahis ISSN: 0141-6790, 27 {2004). 5 issues per year Art History Special Issues: r A subscription to Art History includes one thematic issue each year, also available as part of the Art History Book Series. DIFFERENCE AND EXCESS IN CONTEMPORARY ART The Visibility of Women's Practice Edited by Gill Perry I m This thought-provoking book explores the increasing visibility of women's art in Britain, Europe and America. Written by a group of prestigious art historians and critics, it locates contemporary women's art within a matrix of overlapping historical, cultural and post-colonial frameworks. 1-4051'1202-6 - paperback TRACING ARCHITECTURE The Aesthetics of Anttquarlanism Edited by Dana Arnold & Stephen Bending 1-405-10535-6 - paperback OTHER OBJECTS OF DESIRE Collectors and collecting queerly Edited by Adrian Rifkin & Michael Camille 0-431-23361-X - paperback FINGERING INGRES Essays in the Historiography of a Nineteenth Century Artist Edited by Adrian Rifkin & Susan Siegfried 0-631-22526-9 > paperback THE METROPOLIS AND ITS IMAGE Constructing identities for London c.1750-1950 Edited by Dana Arnold Tlx-0-431-21667 7 paperback ABOUT MICHAEL BAXANDALL Edited by Adrian Rifkin 0-631-21191-8 - paperback THE ART BOOK Edited by Carol Richardson & Sue Ward The Art Book is nowfirmly established wccidwide as essential reading for everyone interested in newly published books on deccrauve, fine and applied art, art history, proctography, architecture and design. Each volume contains major feature articles, reviews of exhtiitions and their catalogues from the UK, the US and Europe, reviews of artists' books, anws with key figures in the art world. There are also at least 50 reviews in each issue on art, photography arid architect www. 6Cicf$v€(lpu6(isfiing. am/journals/aTtSoof^ rSSN: 116S-4M7. VWym* 11 <2004|. 4hunp(ryM r New Interventions in Art History series > A y thesis centres on the, seemingly, religious ambiguity in Hieronymus Bosch's v f V l work. I am challenging the theory that the artist was a heretic, belonging to a secret sect, who used his paintings as a vehicle to promote highly controversial views. I, therefore, propose to present a paper which examines one of the main sources of inspiration for Bosch and ultimately provide the underpinning for my argument. The source in question, which shaped the perception of the medieval mind throughout Europe, was also used as a weapon against heresy. Furthermore, I believe that it inspired such works as Dante's Divine Comedy. The main focal points will be the migration of images and their meaning which evolved from the large number of so called 'visions' such as those of St Patrick and Tundale for example. It will include the comparison of texts and illustrations relating to the visions with Bosch's own imagery. Endgames: Arts and Rituals of Victory and Surrender 16 MARGIT TH0FNER ANGELA WEIGHT University of East Anglia Imperial War Museum T he raising of flags and toppling of statues are common rituals of military victory in most parts of the world. The aim of this strand is to explore the role of art, emblems and other objects at moments of victory and surrender within a broad historical and cultural perspective. This may involve investigating the role of official government artists - for example, Diego Velazquez - in giving visual form to moments of conquest and surrender. It may also involve an analysis of the rituals that mark these tense and sometimes violent moments. Victory parades, the enforced giving of gifts, the destruction of statues and state buildings such as prisons, ministries, archives and museums, are all aspects of the enactment of victory and surrender. JOH N MITCHELL University of East Anglia Blackened Epitaphs: The Sack of San Vincenzo MARGIT TH0FNER University of East Anglia Taking Antwerp: The Fall of a Maiden City T his paper will focus on the material and symbolic roles played by the urban i fabric during one particular ritual of conquest: the triumphant entry into the city of Antwerp performed by Alessandro Famese, Duke of Parma, in August 1585. On 17 August 1585, after a gruelling siege, the city of Antwerp had capitulated to Farnese, the leader in Flanders of the armies of King Philip II of Spain. This was the culmination of a conflict initiated two years earlier, when the Antwerp magistrature had formally deposed Philip as their ruler and installed the French Duke of Anjou. In February 1582 this was formally celebrated with a magnificent 'Joyous Entry' procession through the streets of Antwerp. The French Prince was feted as the heaven-sent saviour of the city from the putative tyranny of Philip. But, two and a half years later, the hopes expressed in this ceremony were deliberately extinguished by Farnese, who forcibly entered the city of Antwerp through the same city gate and along the same route as Anjou. I shall argue that, during Farnese's triumphal procession, both the existing civic fabric and well-established civic traditions ---ere orchestrated to perform an act of symbolic sexual violation. The chief purpose of this was to subvert and render invalid the transfer of power to Anjou. But it was also a highly tangible humiliation of the vanquished. 'Antverpia', a city which had never before yielded to siege, was architecturally and ceremonially deprived of her maidenhood. CORDULA VAN WYHE Cambridge University The Siege of Breda and its Propagation: The Brussels Court and the Aftermath of the Battle C an Vincenzo al Volturno, one of the great monastic houses of early medieval O Italy, was sacked on 10 October 881 by a raiding party of Saracens operating in collaboration with the archbishop of Naples. The monks put up a stiff resistance but, after their lay servants had deserted to the attackers, they were soon overwhelmed. According toChronicon Vulturnense, which records the event in considerable detail, 500, possibly 900, of the monks were killed. The remainder fled to their nearby castellum. From there the survivors made their way down the river Volturno to exile in Capua. After the sack, the Saracens looted the treasury and threw the monastery's stores into the river. Their leader, the notorious Sawgdan, sat in triumph amidst the ruins of the burning monastery, censed by liturgical thuribles taken from the abbey church and drinking wine from a eucharistic chalice. This paper will consider the archaeology of the destruction and pillage of San Vincenzo. Excavations over the past 20 years have shown that the Saracens not only targeted the fabric of the monastic churches and buildings. They also knowingly and systematically set about throwing down and desecrating vital visual symbols which lay at the heart of both the individual identities of the monks and the self-definition of the community. j he name of the Brabantian town of Breda, founded in the eleventh century, is I now synonymous with one of the most dramatic episodes of the Thirty Years' War. The prolonged siege and final capture of Breda by Spanish troops in June 1625 represented one of the most significant setbacks to the Dutch cause during this decade. The well-known painting by Velazquez, celebrating the virtue of the conqueror and the defeated through a depiction of the surrender of the key to city after the actual battle, has been ranked one of the most significant visual accounts of the fall of Breda. In this paper, however, I shall challenge this generally held belief by focusing on hitherto neglected engravings commissioned in the aftermath of the battle by leading members of the Brussels court. By examining these images and the networks of people involved in their creation, this paper represents the first rigorous discussion of the impact of the Habsburgs' successful siege of Breda on the political self-definition of its main protagonists and on the symbolic strategies of the Brussels court at large. 67 Endgames: Arts and Rituals of Victory and Surrender JOCHAI ROSEN University of Haifa Cruel Officers and Begging Hostages: The Humiliation of Subordinates in some Seventeenth-Century Dutch Genre Paintings NATASHA EATON University of Manchester Coercion in the Gift: Struggles, Aesthetics and Sovereignty in eighteenth-century India GREG M. THOMAS University of Hong Kong Looting Empires: The End of Yuanming Yuan and the Beginning of the Musee Chinois. k A any people still associate the Dutch school of painting of the Golden age with I V I Genre paintings. Whether they are right in doing so or not, they probably have in mind a painting such as Jan Vermeer's The Milkmaid - small paintings depicting an interior with an introverted and peaceful scene concentrating on the figure of the middle-class Dutch woman. It may therefore be surprising to realize that many seventeenth-century Dutch Genre paintings represent a whole different subject matter and atmosphere. A different kind of Genre paintings was also very popular in the Dutch Republic, that is, paintings concentrating on the life of soldiers. A recurrent motif in many of these paintings is that of an officer and soldiers humiliating begging hostages. Some of these molesters are laughing knowingly at their contemporary viewer, sharing with him their sadistic pleasure. This behaviour is strange and even disturbing to a twenty-first-century viewer, taking in consideration that these paintings functioned as a form of entertainment. In this paper I will examine the visual sources of this genre, its characteristics and appeal. T his paper explores the formation of the colonial gift in India. In an era of warfare, espionage and indirect rule, victory and surrender must be reconsidered through ironies, subtleties and failures. Indian and British societies generated gifting practices that could not be reconciled in the colonial encounter. Mughal political culture emphasized the importance of jewels and land grants, however the British abuse of this tradition stimulated the colonial construction of a 'hybrid' image-gift. Although in Britain public men exchanged portraits, colonialists abused this practice. They dispatched British painters to courts under direct/indirect colonial rule but they did not offer their likenesses in return, expecting Indian rulers would pay for their own likenesses to be sent to the East India Company as 'tribute'. Pressurized to acquiesce, nawabs played the Company at its own game. Firstly, they used the deferral of payment as resistance; secondly, they deliberately gifted their British-painted likenesses to colonial officials to distract western eyes away from their own ideas of what constituted 'inalienable possessions': Persian and Mughal art. Such agonistic uncertainties surrounding the dissemination/appropriation of colonial art underscore the ambivalence of image agency in colonial victory and surrender. This paper will examine the display in France of objects looted from the Yuanming I Yuan imperial palace outside Beijing in 1860. These treasures, including decorative, artistic and religious objects, were given to the French Empress by the army and installed during the 1860s in a special 'Chinese Museum' at Fontainebleau palace. The paper will first briefly sketch the military context of this trophy display, including the Franco-British military expedition to Beijing, the looting of what was the Emperor's main residence, and the British army's razing of the palace to exert extreme diplomatic pressure. Drawing on a variety of sources, many previously unpublished, the paper then makes three arguments: (1) that in the act of selecting objects for their Empress. French officers radically transformed those objects' value, negating the meanings attributed by indigenous symbolic systems and appropriating them under European discourses of imperial politics and international relations; (2) that in displaying these treasures at Fontainebleau -a French parallel to Yuanming Yuan - the French Empress implicitly defined China's royal heritage as an equivalent to France's own; and (3) that this selection, display, and subsequent reception of Chinese loot was not simply an Orientalist exercise of physical and symbolic power but a more subtle process of equating, negating, ana then reconstituting Chinese imperial culture in oraer simultaneously to destroy China's political prestige and enhance Napoleon Ill's own imperial aspirations. Choices and Change in Exhibitions 17 JULIAN BROOKS CAROLINE CAMPBELL Ashmolean Museum National Gallery O ver the last twenty years exhibitions have changed considerably as museums and galleries have approached the commercial and curatorial desirability of 'blockbuster' shows and new displays of old objects. A wide range of choices has to be made in the process of organising an exhibition, on scale and funding, and many other issues. Pressure exists on any museum or gallery to have a full and diverse programme of exhibitions, often placing strains on infrastructure and necessitating prioritization. This session aims to examine the choices that have to be made within the scope of exhibitions, their catalogues and displays. What priority should exhibitions occupy for institutions, in terms of space and funding? Choices abound in what the show can include, and the extent of loans that can be requested. What works should or can be included or excluded? What criteria are used to select them? What role is there for loans? What factors influence museum decisions to lend or not lend to a show? Choices must also be made for the exhibition catalogue. To whom should they be addressed and what is their role in the context of the exhibition? Are they an opportunity to publish detailed research in the field, to examine scholarly problems beyond the show, or to act as a 'virtual show' to take home? A diverse range of types of catalogue has been explored, from the pamphlet to the 'door-stop'. Potential papers will be welcomed on any of these issues, from a wide range of disciplines and related professions. ELIZABETH A. PERGAM J n a session devoted to the questions raised by the blockbuster imperative ! operating in the museum world of the twenty-first century at a conference The National Gallery of Art, Washington themed 'Old/New?,' it may be useful to examine the Manchester Art Treasures Exhibition as a key prototype of the modern blockbuster, I believe it is necessary to Britain's First Blockbuster: look at the origins of the blockbuster phenomenon not only to provide a historical Manchester's Modernity in 1857 context, but to show that many of the complex issues raised by exhibitions today were confronted by the Mancunian Executive Committee and their officers. My paper will show that the Art Treasures Exhibition was an event unprecedented in the history of art in Britain. Its innovations not only reflected the current museological debates, but also influenced the future course of museum display and exhibition practice. I will argue that one of the most important results was that with the expansion of the socio-economic profile of the mid-Victorian audience (one of the official goals of the organizers) a new type of mediation of the objects on display had to be developed. It was at Manchester, I believe, that the role of curator, as we understand it today, was tested. EVDOXIA BANIOTOPOULOU Central Saint Martin's College of Art and Design, London Totally regenerated? Modern and Contemporary Art Museum Exhibitions in the Era of Urban Renewal L~D ost-industrial societies in Europe and America have in the past 30 years experienced an upsurge in their cultural infrastructure. This is mainly expressed through the creation of new, flagship modern and contemporary art museums. These high-profile, city-branding projects are in many cases the products of elaborate urban regeneration plans and become the main agents for the development of cultural tourism in their respective areas. They are, therefore, important stakeholders in the cities' futures and are often informed by political decisions and socio-economic conditions. Drawing on selected case studies, this paper will examine if and to what extent the exhibitionary culture of these institutions has been specially shaped to serve their raison d'etre. It will trace the forces behind their curatorial policies and choices. It will also map out their characteristics and compare them to other recent, non urban-regeneration related practices. The paper will finally examine the impact of the exhibitionary orientation of these institutions on the creation of new art and discuss a new direction in institutional exhibition-making for the showcasing of this art. ABIGAIL HARRISON MOORE University of Leeds Object, Value, Meaning: Constructing Identities of Meaning in the Country House Museum T his paper examines the choices taken at Harewood House, Yorkshire, regarding the exhibition, catalogue and display of the furniture collections. It will specifically examine the 2000 'blockbuster' exhibition,, and its published catalogue. Questions will be asked about the historiography of the collections at Harewood, their relationship to furniture history, and specifically the interaction between exhibition and display choices, the market and the auction house. Why did Harewood choose Chippendale for the millennium exhibition? Classification decisions are taken based on our 'knowledge' of the object and its maker, but such knowledge is a product of a particular time, place and society. Choices and Change in Exhibitions Chippendale's work maintains his/its place at the apex of furniture history, Pecause this taxonomy has been accepted by the majority of interpreters and is supported by the discourse and the actions of the auction house. As each piece of 'Chippendale' furniture sold results in an increased price, the museum visitor becomes more interested. Media representations of the antiques trade endorse this system, as the audience waits for the all important question to be answered '...but how much is it worth?' This paper will trace the popularity of Chippendale at Harewood. It will consider why other pieces of furniture have been sold at auction or overlooked in current displays, and how a museum creates a popular audience for its collections. JULIAN BROOKS The J. Paul Getty Museum, Los Angeles The Making of Graceful and True C hown at the nearby Djanogly Art Gallery, and running during the 2004 AAH ~J conference, the exhibition Graceful and True: Drawing in Florence c. 1600 has brought together drawings from a variety of British collections, including the Christ Church Picture Gallery, British Museum, Courtauld Institute Galleries, and the Royal Collection. This paper will examine how the show, co-curated with Catherine Whistler, has aimed to shed light on the draughtmanship ofa relatively unknown period of Florentine art. Considerations will include the selection of works and artists for the exhibition, the loan criteria taken into account, and the choices made in the format of the exhibition catalogue, labels, and hanging. The exhibition opened at the Ashmolean Museum, Oxford in October 2003, and has since travelled to Colnaghi in London before the showing in Nottingham. The different possibilities of these three venues for the exhibition will be discussed, and the varying displays. Examining curatorial choices made during the planning and display of the exhibition, the current paper will use it as a case study for the consideration of factors which govern the way an exhibition looks and feels, and the relative priority given to them. CHRISTINE RIDING j \ rawing on examples from Tate and other institutions, this paper will examine the -„ ., . <—'* role of design in exhibition-making and the use of desiqners and architects. M Tate Britain, London « « a Although the creation of an 'appropriate' environment for viewing works of art has Designing Exhibitions: An been the concern of curators throughout the twentieth century, it is only within the Intervention Too Far? Iast decade that the Tate has regularly employed designers and architects on temporary exhibition projects. This development underlines a general concern to present every exhibition as a unique experience, as well as the belief that such professionals are best placed to translate or articulate in visual and spatial terms the intellectual ambitions of the curators. Arguably, it adds yet another layer of interpretation and professional ambition, which may obscure and even compromise the project as a whole. Equally, the choice of designer/architect underlines an intellectual strategy on the part of the institution. Tate exhibitions progressively eschew the heritage approach of 'evoking the age' employed by other institutions, such as the Victoria and Albert Museum, towards display 'conventions' associated with modern and contemporary art, a strategy clearly calculated to present historic art as connected and relevant to a contemporary audience. But is this strategy itself relevant? CAROLINE CAMPBELL The National Gallery, London 'Door-stops', Blockbusters, and the Exhibition Catalogue T he growth of the exhibition industry in the last 20 years has transformed the exhibition catalogue. From a simple list of exhibits accompanied by a scholarly essay, the catalogue has grown and grown like a many-headed hydra. It is only one of many forms of interpretation within a modern exhibition. There is no consensus about what a catalogue should be. Is its function to be a souvenir of the temporary event it is associated with? Should it exist to make money for the institution producing it? Is it a tool in general art historical education, or must it be aimed primarily ata discreet scholarly, even simply curatorial audience? The catalogue has become an important site for the discussion of current issues in museological and interpretative practice. This is related to modern curatorial methodologies, concerns over museum accessibility, and the never-ending search for the elusive 'new' audience. The National Gallery has been particularly engaged with this debate. Although the permanent collection catalogues have received universal praise, several recent exhibition catalogues have met with a more mixed response. This paper will examine the catalogues and interpretation of some National Gallery exhibitions, including Titian, and the reactions these have produced. Old and New Sensations: Engaging the Senses | C< in Early Modern Culture ALICE SANGER SIV TOVE KULBRANDSTAD WALKER British School at Rome W e are naturally accustomed to privileging sight and the instrumentality of the gaze in art historical analysis but what may be achieved if we also interrogate relationships between art objects and artefacts and the four other senses? This question is the premise for our session, which urges a discussion on the theme of 'the Senses' to bring more clearly into focus the role of these faculties in the realm of early modern art and cultural practice. Broadly, Old and New Sensations aims to juxtapose ancient topics and their new mediations to define traditions and interpret innovations. This session therefore particularly addresses themes connected with the faculties of Hearing, Taste, Smell and Touch. We hope that discussion will ensue on the ways in which the collective iconography of the Five Senses, which was conceived in classical philosophy, and developed and stored in literary traditions, became a favoured pictorial subject in the field of early modern representation. Above all, though, the papers in this session endeavour to examine how the senses were evoked or engaged with in new relational contexts in Renaissance art and cultural practice, and how these faculties were made to perform in diverse guises: as protagonists for the rediscovery of the human body, as agents of indulgence and pleasure, as informers on material reality, as mediators between the mind and the outer world, and even as 'intercessors' between humans and the divine. ALICE SANGER y paper begins by investigating the relic as an item that is at once both old I V" I and new, the unslightly and apparently other-worldly fragment remade as British School at Rome distinctive, accessible and worldly through embellishment and display. For the faithful the experience of the sacred through the relic tends to be a sensually Sensuality, Renewal, Private resonant act, as touching relics, or a physical nearness which implies touching, is a Devotion and the Relic in fundamental part of the process of veneration. Belief in the spiritual potency of relic Post-Tridentine Italy contact through veneration and proximity is a theme that, my paper affirms, emerged with renewed impact in post-Tridentine culture. Therefore for private patrons of the period (including members of the Medici, Borghese and Barberini families), obtaining relics and preserving them in palace chapels ensured their proximity and accessibility, and enhanced possibilities to engage with them as both spiritual and material assets. By probing this curious duality my paper investigates how relics were used by aristocratic patrons in seventeenth-century Italy in acts of collecting, devotion, gifting and display, and asks, to what extent do the realms of sacrality and sensuality intersect here? PHILLIPPA PLOCK Early modern perceptions of how different human senses interrelated ina person's experience of an art object have been utilized by modern scholars University of Leeds seeking to deconstruct the Cartesian subject. In this paper I explore the uses of one construction of how the senses combine both in the early modern period and in The Early Modern Feminine modern scholarship. My subject is the figure of the woman-who-views-touchingly: a Touching-Look: Its Construction look which merges the sense of sight into that of touch. My case study is Poussin's and Uses in Modern Scholarship painting of Tancred and Erminia, which depicts a woman's visual and tactile engagement with a male body. I argue that the feminine touching-look was a and the Paintings of Nicholas socially constructed viewing position that was utilized by the elite men of Poussin seventeenth-century Roman society. Poussin, I believe, employed religious imagery in this secular painting in order to evoke positive connotations of the touching-look with which his patrons could empathize and enjoy. These positive configurations, I suggest, sought to resolve contradictions experienced at the level of subjectivity that arose out of social change. My approach seeks to destabilize the heroic position of the touching look in modern theorizations of feminine viewing by considering one of its functions in early modern society. e SlV TOVE KULBRANDSTAD WALKER Tn courr|y banquet, with its emphasis on the ostentatious and the exceptional, ! aiming at visual rather than gustatory effects, cannot be the only guide to the A Tavola! Appetites in Sixteenth- study of Renaissance eating habits. This paper starts with an account of prevailing Century Italy theories on the classification of foodstuffs and their consequent suitability for different social groups, and addresses the role of meat in diverse contemporary diets. Behind the sophisticated ideals of oral pleasures, evident in sixteenth-century writings on gastronomy, it has been possible to discover a more qualitative scale of taste distinction, in subtle combinations of local produce, vegetables and fruits. Old and New Sensations mixed with meat and fish in the composition of delicate dishes. By analysing images of food, kitchens and solitary eaters, which made their entry into the sphere of large-scale paintings of the limes, I have also sought to untangle the various messages these contain regarding victualling, cooking and peasant appetite. The latter forwards a claim of legitimacy for simple, rustic meals, which contrast with the spectacular feasts of the nobility. The produce depicted with enthusiastic effort in realistic rendering, in still-lifes and market scenes, appeals to the sensual involvement of the viewer and makes the eye assume a quasi mouth-like function. n CHRISTA GROSSINGER I contrast to the sweet scent of roses experienced by lovers, or emanating from 1 the uncorrupted corpses of saints, the smell wafting from my talk comes from The Smell Below the Belt below the belt, i.e. the human bottom. I will examine how the lower human functions, in this case the sulphurous smell developed in art from the margins of fourteenth-century manuscripts, gain in force and 'visibility' with the introduction of woodcuts and engravings, a technique also allowing for the consumption by a wider range of class. The function, meaning and effect on the audience of this type of smell will be discussed, as well as the extent to which the humour, laughter and fear were representative of the late-medieval and early-renaissance period. "The written lives of medieval saints are rich in sensual imagery, indeed they fight a CATHERINE LAWLESS I daily battle with the site of their senses: the body. Senses are to be conquered, as University of Limerick reminders of the carnal flesh that traps the soul. Yet, the rewards for such endeavours are presented in the language of the senses: saints die in an odour of Saints and their Senses roses, their food tastes like milk and honey, they hear angelic voices and they see visions. Many experience bodily raptures engaging all the senses. Painting itself had to represent something that deceives the eye into beholding a reality (be it an imitation of the natural world or an evocation of another world). How could the painter of saintly lives transpose the sensual language of the texts into a visual narrative that served both didactic and devotional ends? In the lives of female saints, how could the boundaries between sensual ecstasies and religious propriety be negotiated? The authorities, fearful that ecstasies were demonic in origin, continuously attempted to control female piety. If the visions of St. Catherine were shown, would that not encourage women to abandon themselves to uncontrolled forces? If Saint Birgitta's weekly habit of cutting her flesh and dropping heated candle wax in it to imitate the Passion was shown, would not others attempt such rash activity? This paper will examine the discrepancies between religious text and image in depicting the sensual lives of female saints. It will explore the reception of visual and textual narratives and examine how different religious needs were addressed. I he visualization and imitation of Christ was central to thirteenth- and fourteenth- CORDELIA WARR i century spirituality. Saints and holy people increasingly focused their spirituality University of Manchester through the senses, through meditation on religious images and through the bodily re-enactment or representation of Christ's passion. Images, and thus the sense of Rejecting the Image: Clare of sight, were central in religious practice. Yet certain people, such as Clare of Montefalco (d. 1308) and the Montefalco, rejected images, and the reliance on exterior stimulation of the senses that accompanied them, at important points in their lives. This paper will explore the Crucifixion possible reasons behind this rejection. Old/New: Thirty Years of Italian Trecento Studies LOUISE BOURDUA University of Aberdeen oberto Longhi's collected essays on the Trecento, spanning some thirty years of activity, was published in 1974; a new Italian edition has just been reissued. But 1974 was also a year in which new kinds of Trecento art histories were being produced: two examples include Henk Van Os, St Francis of Assisi as a Second Christ in Early Italian Painting, and Julian Gardner's The Stefaneschi altarpiece : a reconsideration. Thirty years have now elapsed. What has happened since? Where are we now? Where do we go next? This session seeks to consider, both from the point of view of historiography and methodology, thirty years of Trecento art history. It invites speakers to consider critically whether current Trecento studies are still basically concerned with three issues: those of connoisseurship, iconography, and patronage, despite forays into audience and techniques. These issues are addressed by case studies of a particular medium or genre, regions, and comparative methodologies. The round table will provide a more general platform for reflection on recent scholarship. Speakers DIANA NORMAN Open University Redefining Duccio. Old and New in Sienese Trecento Studies ROBERT GIBBS University of Glasgow Illuminating the Trecento: Even Gombrich Wrote Rubbish LAURA JACOBUS Birkbeck College 21st-Century Giotto All artists of the past are periodically re-invented in the image of the changing present. This session looks briefly at Giottos of the recent past, and proposes a Giotto for the forseeable future.' ANNE DUNLOP Yale University Trecento Studies and Secular Art Round Table Louise Bourdua, Anne Dunlop, Julian Gardner, Robert Gibbs and Diana Norman will address the following issues: • Where is the Val Padana in non-Italian studies? • Does Patronage Matter? • Gendering the Trecento • Teaching the Trecento 73 Old Art and New Technologies RUPERT SHEPHERD Ashmolean Museum A s a result of increasing institutional support, greater use is being made of digital technologies to create art-historical resources. This section of the conference has been created to allow the creators of digital resources to demonstrate them to their potential users - the delegates to the AAH conference. Rather than segregate them in a particular session or forum devoted to digital technologies, the informal, 10-minute presentations will take place in the Book Fair during the refreshment breaks, making it as easy as possible for delegates who might otherwise miss them to find out about resources which are intended to help them in their teaching and research. Thursday 1 April 13.40 - 13.50 Rupert Shepherd (Department of Western Art, Ashmolean Museum), The Ruskin Project at the Ashmolean Museum The Ruskin Project, funded by the AHRB, reassembles the collection assembled by John Ruskin in order to teach drawing at the University of Oxford. It combines digital images of the objects in the collection with the texts of the various catalogues produced by Ruskin and up-to-date catalogue information about the objects. It reintegrates word and image according to Ruskin's original vision, as well as enabling his rich system of cross-references to work effectively for the first time. The entire resource will be made available on the web for browsing and searching, while the raw files will be deposited with AHDS Visual Arts. 15.35 - 15.45 Tim Ayers (Corpus Vitrearum Medii Aevi), The Corpus Vitrearum Medii Aevi The Corpus Vitrearum Medii Aevi is a British Academy research project dedicated to the publication of all medieval stained glass in Great Britain. Since 2001, it has been funded by the Arts and Humanities Research Board to digitize its photographic archive and to set up a website, in collaboration with the Centre for Computing in the Humanities at King's College, London. Over 10,000 images are now on-line, mostly in colour, providing access to this medium on a scale never before available, with a range of search and browsing options. We are also experimenting with the parallel publication, in both digital and book format, of future volumes in the series. Friday 2 April 11.05- 11.15 Douglas Dodds (Word & Image Department, Victoria & Albert Museum), ARLIS.NET ARUS.NET is a freely available service aimed at researchers trying to locate material on art, architecture and design. The website includes a database of 18,000 periodical titles, plus a directory of 250 libraries, archives and other collections throughout the UK and Ireland. Users can find locations for a specific periodical, identify organizations with material on a particular subject, or find information about resources in a specific region. The presentation will provide a brief non-technical introduction to the service, which is maintained by the National Art Ubrary at the Victoria and Albert Museum , for the Art Libraries Society . 13.30 - 13.40 Jayne Everard (Artifact), Artifact Artifact is the arts and creative industries hub of the Resource Discovery Network (RDN) the UK's free national gateway to Internet resources for the learning, teaching and research community. Launched in November 2003, Artifact provides searchable access to a collection of rich, high-quality Internet information for students, lecturers, researchers and practitioners in the areas of all arts-related disciplines and the creative industries. Each resource is selected by subject specialists for its academic quality and subject relevance, and its listing in Artifact includes a description of the web resource's key features. 15.50-16.00 Saturday 3 April 11.05-11.15 13.15-13.25 15.35-15.45 Old Art and New Technologies Matthew Addis (IT Innovation Centre, University of Southampton), SCULPTEUR Many cultural heritage institutions now have large digital image collections. Traditionally, retrieval of these images is performed using simple text-based searching of descriptive metadata. In the European Commission-supported Sculpteur project we have developed new ways to search and navigate large image collections. Firstly, the user can search by image content, for example by finding an image fragment within a larger image, or by looking for images of similar colour or texture. Secondly, we help the user to understand and navigate the collection by graphically presenting the complex and extensive terminology often used to describe items in the collection. Polly Christie (AHDS - Visual Arts), Fineart.ac.uk Set up in order to facilitate research into the history and achievement of UK fine art practice-based education, FINEART.AC.UK is a new online pilot resource of fine art works selected from some of the UK's finest art colleges and universities. Covering the period from the inception of British art schools in the 1850s through to the present day, the site makes available images, records, movies and biographies created by or relating to artists who have studied or taught fine art in the UK, thereby offering a framework for an historical picture of the developments in the field and providing access to otherwise inaccessible and hidden collections. Gabriela Salgado (UELAAC), The University of Essex Collection of Latin American Art Kenneth Quickenden (Birmingham Institute of Art and Design, University of Central England in Birmingham), The Virtual Gallery of Contemporary Jewellery This CD-ROM, published by the Birmingham Institute of Art and Design at the University of Central England in 2000, provides a very substantial international survey of art jewellery using examples taken mainly from the end of the 1990s. The Gallery exhibits, each by a different jeweller, were selected to illustrate eleven themed exhibitions. Each exhibit is accompanied by basic factual information, each jeweller has a CV section (including a bibliography, personal statement and in some cases video interviews) and each exhibition is supported by an academic paper which contextualises and further analyses the jewellery. This interactive CD-ROM is appropriate for public display (a version has been installed in the V&A) but is also a valuable teaching tool at HE level. BOOK FAIR 2004 Participating Publishers Pope Building, A13 1 APOLLO 2 & 3 ASHGATE PUBLISHING 4 & 5 BLACKWELL PUBLISHING 6 CAMBRIDGE UNIVERSITY PRESS 7 PEARSON EDUCATION 8 MANCHESTER UNIVERSITY PRESS 9 HENRY MOORE INSTITUTE 10 TAYLOR & FRANCIS 11 PENN STATE UNIVERSITY PRESS Pope Building, A14 12 THE MIT PRESS 13 PINDAR PRESS 14 PRESTEL PUBLISHING 15 LAURENCE KING PUBLISHING 16 & 17 THAMES & HUDSON 18 REAKTION BOOKS 19 YALE UNIVERSITY PRESS 20 UNIVERSITY OF CHICAGO PRESS 21 ROUTLEDGE 22 OXFORD UNIVERSITY PRESS BOOK FAIR APOLLO Stand 1 20 Theobald's Road London WC1X 8PF Tel: 020 7430 1900 Fax: 020 7404 7015 Established in 1925, Apollo is one of the most highly respected international art history magazines in the world. An annual subscription costs £98 (UK), £115 (Europe), $160 (USA) or £125 (rest of the world). The extensive monthly advertising section concentrates on the art market and includes special education and book features 3 times a year. Attending: Nigel McKinley Michael Hall ASHGATE PUBLISHING Stands 2 & 3 Gower House Croft Road Aldershot GU113HR Tel: 01252 331551 Fax: 01252 344405 CAMBRIDGE UNIVERSITY PRESS Stand 6 The Edinburgh Building Shaftesbury Road Cambridge CB2 2RU Tel: 01223 326258 Fax: 01223 315052 Cambridge University Press are delighted to once again be attending the Association of Art Historians' Conference. Do please come to our stand and browse through our exciting and varied titles in art history and architecture! Attending: Emma Baxter Ashgate Publishing is one of the world's leading publishers of academic research in the social sciences and humanities. The Ashgate art history programme covers all periods and genres. Our books offer original research by scholars worldwide and reflect a commitment to the interdisciplinary study of art and architectural history. The Lund Humphries imprint focuses on artists' monographs, museums co-publications and design and photography books. Attending: Helen Kennedy Jonathan Jones BOOK FAIR BLACKWELL PUBLISHING Stands 4 & 5 9600 Garsington Road Oxford OX4 2DQ Tel: 01865 776868 Fax: 01865 714591 Blackwell Publishing is a leading name in humanities and social sciences publishing, committed to supporting the global academic community in both teaching and research. One of the world's leading society journal publishers, we are proud of our long-standing relationship with the journal Art History and The Art Book. Our books list in Art & Theory has continued to grow throughout 2003/4. Highlights of our recent publishing include Robert Williams'textbook, Art Theory: An Historical Introduction, and Gill Perry's Difference and Excess in Contemporary Art, which is new in the Art History special issue series. The innovative New Interventions in Art History series, edited by Dana Arnold and published in connection with the Association of Art Historians, also continues to grow. To see the latest titles in this series - plus others - please visit our stand. We look forward to seeing you at the conference. Attending: Louise Cooper Rachael Street Philip Joseph HENRY MOORE INSTITUTE LAURENCE KING Stand 9 PUBLISHING 74 the Headrow Stand 15 Leeds 71 Great Russell Street LSI 3AH London Tel: 0113 246 7467 / 0113 246 9469 WC1B 3BP Fax: 0113 246 1481 Tel: 020 7430 8850 Fax: 020 7430 8880 The Henry Moore Institute has an active publishing programme which complements its exhibitions, collections and research activities. Almost all major exhibitions are accompanied by Specialists in high-quality illustrated books substantial catalogues and have focused on on art history, architecture and design. trans-historical themes examining the cultural and material meanings of sculpture. Essays are often produced in connection with Symposia held at the Institute, or with new acquisitions Attending: for the sculpture and archive collections. Laura Willis Kerstin Peter Attending: Lee Ripley-Greenfield Liz Aston Kara Hattersley-Smith Stephen Feeke Jon Wood Martina Droth BOOK FAIR MANCHESTER UNIVERSITY PRESS Stand 8 Oxford Road Manchester M13 9NR Tel: 0161 2752310 Fax: 0161 2743346 Manchester University Press is well known for publishing intellectually rigorous and critically acclaimed paperbacks in its Critical Perspectives in Art History and Studies in Design series. This year we are proud to announce the acquisition of the internationally acclaimed journal Visual Culture in Britain, which aims to advance the debates of visual culture in Britain from the eighteenth century to the present day. Attending: Jonathan Bevan Ben Stebbing OXFORD UNIVERSITY PRESS Stand 22 Great Clarendon Street Oxford OX2 6DP Tel: 01865 556767 < enquiry@oup.co.uk> Oxford offers a wide range of art titles, including the acclaimed Oxford History of Art series, and the Grove Dictionary of Art. Written by experts at the cutting edge of critical thinking, these innovative texts provide informative and illuminating commentary on key issues, and are a must for all lovers of art. Attending: Anthony Russell Felicity Wyatt Penny Isaac THE MIT PRESS Stand 12 Fitzroy House 11 Cheries Street London WC1E 7EY Tel: 020 7306 0603 Fax: 020 7306 0604 < i nf o@hup-mit press, co. uk> The MIT Press display will include new and bestselling titles and journals, available to purchase and order at 20% discount. Highlights for 2004 include: Irrational Modernism: A Neurasthenic History of New York Dada by Amelia Jones; Minor Histories: Statements, Conversations, Proposals by Mike Kelley; Aby Warburg and the Image in Motion by Philippe-Alain Michaud and Defaced: The Visual Culture of Violence in the Late Middle Ages by Valentin Groebner. Attending: Nicola Hodson PEARSON EDUCATION Stand 7 Edinburgh Gate Harlow Essex CM20 2JE Tel: 0870 607 3777 Fax: 0870 850 5255 Pearson Education is delighted to be displaying Prentice Hall / Abrams art history titles for the first time in the UK. Come to our stand to see these beautiful books, packed full of painting, sculpture, photography, film and architecture from across the world. With innovative pedagogy and digital supplements to aid effective study, these texts will inspire your students throughout their degree. Attending: Alison Wood Heather McCallum BOOK FAIR PENN STATE UNIVERSITY PRESS Stand 11 820 North University State Drive USB I, Suite C University Park PA 16802-1003 USA Tel: 814.865.1327 Fax: 814.863.1408 Penn State University Press publishes scholarly books and journals in the humanities and social sciences. New titles include Work Ethic, Pirro Ligorio, The New Palaces of Medieval Venice, and The Tumulte noir in paperback. Work Ethic, published in conjunction with an exhibition of the same name organised by The Baltimore Museum of Art, brings together a cross-section of such radical endeavours and opens a fresh perspective on their genesis and meaning. Forthcoming titles include The WorldDocumenting Spain, and The Dark SideNature. in Paint, of Attending: Gloria Kury, Art and Humanities Editor PRESTEL PUBLISHING Stand 14 4 Bloomsbury Place London WC1A 2QA Tel: 020 7323 5004 Fax: 020 7636 8004 Prestel celebrate their 80th Anniversary at the AAH this year with a dazzling array of high-quality illustrated books on art, architecture, design and photography. Attending: Kim Cope Andrew Hansen PINDAR PRESS Stand 13 40 Narcissus Road London NW6 1TH Tel: 020 7435 1288 Fax: 020 7435 1288 Publishers of art history and archaeological books. Attending: Tom Symonds Liam Gallagher Jackie Solomon REAKTION BOOKS Stand 18 79 Farringdon Road London EC1M 3JU Tel: 020 7404 9930 Fax: 020 7404 9931 Reaktion Books will be displaying a selection of new and recommended titles in art history, art theory, Asian art, photography, architecture and cultural studies. Attending: Anna Vinegrad David Hoek Martha Jay BOOK FAIR ROUTLEDGE Stand 21 11 New Fetter Lane London EC4P 4EE Tel: 020 7842 2001 Fax: 020 7842 2306 Routledge is committed to publishing the best academic texts on art and visual culture. Visit our stand to browse a range of our best selling and new titles. Highlights this year include a new edition of Photography a Critical Introduction, Erno Goldfinger, and The Emergence of Modern Architecture and Visual Studies: a skeptical introduction, by James Elkins. Books are on sale at 20% discount throughout the conference. Attending: Caroline Mallinder Rebecca Barden Catriona Murray Tom Church TAYLOR & FRANCIS Stand 10 4 Park Square Milton Park Abingdon Oxfordshire OX14 4RN Tel: 01235 828679 Fax: 01235 829003 < victoria.I incoln@tandf.co.uk The Taylor & Francis Group publishes peer-reviewed journals from the imprints of Taylor & Francis, Carfax, Routledge and Gordon & Breach. Journals that may be of particular interest to Art Historians are: Third Text, Visual Studies, Word & image and the Journal of Art History. Visit the Taylor & Francis exhibition to obtain a sample copy. Attending: Victoria Lincoln THAMES & HUDSON Stand 16 181A High Holborn London WC1V 7QX Tel: 020 7845 5000 Fax: 020 7845 5000 Thames & Hudson is internationally renowned for its beautifully reproduced and scholarly illustrated books. Visit our stand to see the most recent titles in the World of Art Series including Sienese Painting by Timothy Hyman, and Rachel Greene's International Art. Other new highlights include a new monograph on Sean Scully, a critical appraisal in The Art of Bill Viola and a revised edition of Suzi Gablik's Has Modernism Failed? Attending: Jo Walton Joanna Chandler THAMES & HUDSON Stand 17 181A High Holborn London WC1V 7QX Tel: 020 7845 5000 Fax: 020 7845 5000 Thames & Hudson, as well as its own publishing programme, also distributes on behalf of many leading international book publishers. These include Harry N Abrams; A.V.A.; British Museum Press; Fondation Cartier; Flammarion; Laurence King; Museum of Modern Art; Scriptum Editions; Royal Academy; Royal Collections; Scalo; Steidl; Skira Editore; and Violette Editions. Visit our stand to see the major Spring titles. Attending: Jonathan Earl BOOK FAIR UNIVERSITY OF CHICAGO PRESS Stand 20 1 Lomond Drive Leighton Buzzard Bedfordshire LU7 2XH Tel: 01525 373435 / 773.702.7700 Fax: 0870 1258440 / 773.702.9756 Chicago will display new and backlist titles in art, art history, architecture, theory, criticism and performance. We will also display page proofs of forthcoming titles and related journals such as the Winterthur Portfolio, Metropolitan Museum Journal, and Critical Inquiry. Visit our stand to purchase books at a 20 percent discount. Or, pick up an order form with which the discount is valid for 30 days after the conference. See our ad in this handbook for a sample of new titles available. For electronic versions of our catalogues, see our website. Attending: Whitney Linder YALE UNIVERSITY PRESS Stand 19 47 Bedford Square London WC1B 3DP Tel: 020 7079 4900 Fax: 020 7079 4901 Yale University Press is a publisher of scholarly works in all disciplines, particularly art, architecture, history, politics and philosophy. Attending: Matthew Wagstaff Andrew Jarmain Gill Malpass The Association of Art Historians gratefully acknowledges the support of its sponsors. Gallery to 7s Manchester University Press 1904-2004 LAURENCE KING Blackwell One hundred years of e*ce3ence • academe publishing SIDE Publishing