STILLNESS AND TIME: PHOTOGRAPHY AND THE IMAGE
KENT INSTITUTE OF ART AND DESIGN, CANTERBURY
FRIDAY 7TH AND SATURDAY 8TH MAY 2004
The photograph has traditionally been seen as a quintessentially still
image. Its ability to freeze and hold a moment in time has been the source
of its peculiar fascination and the foundation of much of the theoretical
discussion about it. Today, however, the notion of the still image seems
less absolute. Within the last decade technological developments have
fundamentally altered the way in which we think about the still and the
moving image. In particular the convergence of photography and digital media
has challenged our concepts of the photographic, and of the relationship
between movement and time. Photographic artists extend the still image in
time through the use of film and video, and photographic images may actually
be derived from film stills or fragments of video. The intertwined histories
of photography and film and video also remind us of the complex ways in
which photography has interacted with the cinematic imaginary: referencing
it, representing it and plundering its visual language. This conference
offers an opportunity to rethink the concept of the photographic still and
the notion of stillness, within the culture of the moving image.
Amongst the issues this conference seeks to address are:
* What is the relationship between visual technologies, the recording
of movement and the production of time?
* How have contemporary visual art practices contributed to our
understanding of the concept of stillness and duration?
* What different temporalities are invoked by the photographic still,
the video still and the projected image?
* In what ways have electronic and digital technologies redefined our
understanding of the medium and what consequences does this have for our
understanding of spectatorship?
* How can our experience of one technology be imagined through another
and what implications might this for a theory of the image?
FRIDAY 7TH MAY
HUBERTUS V. AMELUNXEN is Director of The International School of New Media,
Lübeck, Germany and the Senior Visiting Curator of the Canadian Centre for
Architecture, Montréal. He was the editor of Fotogeschichte and has
published widely on philosophical aspects of photography and new media. He
is the author of several books, among them Allegory and Photography (1992)
and the editor and contributor to Photography after Photography: Memory and
Representation in the Digital Age (1997).
MARY ANN DOANE is Professor of Modern Culture and Media and of English at
Brown University. She is the author of The Emergence of Cinematic Time:
Modernity, Contingency, the Archive (2002), Femmes Fatales: Feminism, Film
Theory, Psychoanalysis (1991), and The Desire to Desire: The Woman's Film of
the 1940s (1987). In addition, she has published a wide range of articles
on feminist film theory, sound in the cinema, psychoanalytic theory,
television, and sexual and racial difference in film.
YVE LOMAX is currently Research Tutor in Photography/Fine Art at the Royal
College of Art, London. An artist and writer, she is the author of Writing
the Image: An Adventure with Art and Theory (2000) and her next book,
Sounding the Event: Escapades in Dialogue with matters of Art, Nature and
Time, will be published shortly.
GARRETT STEWART is James O. Freedman Professor of Letters at the University
of Iowa, USA. In addition to his work in the field of literature he has
published widely on various aspects of cinema. He is the author of Between
Film and Screen: Modernism's Photo Synthesis (1999) and his latest book The
Looks of Reading 1514-1990, on the scene of reading in painting from the
Renaissance through modernism, will be published shortly.
There will be a plenary session at the end of the day involving all of the
day's speakers. The session will be chaired by MARGARET IVERSEN, Professor
of Art History and Theory at the University of Essex, and the author of
Alois Reigl: Art History and Theory (1993). Her book of her essays entitled
Art Beyond the Pleasure Principle will be published shortly; her current
major research project concerns the artist's use of photography in the
period 1965-1975.
Saturday 8th May
VICTOR BURGIN is Millard Chair of Fine Art, Goldsmith's College, London. An
artist and writer, amongst his publications are The End of Art Theory
(1986), In/Different Spaces: Place and Meaning in Visual Culture (1996) and
Some Cities (1996). His latest book, The Remembered Film, will be published
later this year. He has recently held major shows of his work at the
Fundaci? Antoni Tàpies, Barcelona and the Arnolfini Gallery, Bristol.
MARK LEWIS is Principal Lecturer in Fine Art at Central St.Martin's School
of Art, London. An artist and filmmaker, he has held major solo exhibitions
of his work at the Museum of Modern Art, Oxford (2000) and the National
Gallery of Canada, Ottowa (2000). Amongst the numerous group exhibitions in
which he has participated, his work was included in the influential Cinema,
Cinema held at the Stedelijk Van Abbemuseum, Eindhoven.
KAJA SILVERMAN is Professor of Rhetoric and Film at the University of
California, Berkeley, USA. Her primary object of study is the field of
vision, which she approaches from a psychoanalytic and phenomenological
point of view. Among the monographs she has published are World Spectators
(2000) and The Threshold of the Visible World (1996). Although her earlier
work focused upon cinema, her recent research has extended into the areas of
photography and time based-art and she has written a number of major essays
on the work of the artists James Coleman, Jeff Wall, Alan Sekula, and
Eija-Liisa Ahtila.
JOHN STEZAKER is Senior Tutor in Critical and Historical Studies at the
Royal College of Art, London. An artist and writer, work from his latest
photographic series Angels has recently been shown in Lisbon and will
shortly be seen at the Musee de l'Elysee, Lausanne and the Hayward Gallery,
London. He has written widely on aspects of photography and contemporary
visual practices and his most recent published work has appeared in Essays
in Visual Culture (2003) and Conversation Pieces (ed. Pavel Buchler, 2003).
There will be a plenary session at the end of the day involving all of the
day's speakers. The session will be chaired by Laura Mulvey, Professor of
Film and Media Studies at Birkbeck College, London, and the author of Visual
and Other Pleasures (1989) and Fetishism and Curiosity (1996). She is
currently working on a new book entitled Death 24 x a second: Stillness and
the Moving Image.
Stillness and Time: Photography and the Moving Image is the third
international conference to be organised by Photoforum, a collaboration
between the University of Brighton, the Kent Institute of Art and Design,
and the Surrey Institute of Art and Design University College.
Conference Venue (both days): The Cragg Lecture Theatre, Kent Institute of
Art and Design,New Dover Road, Canterbury.
Conference Times (both days):Registration (and coffee): from 10.15.
Conference begins: 10.45. Conference ends: 18.00
Booking
Conference Fees (morning coffee, buffet lunch, and afternoon tea are
included)
Full fee for two days £75
Full fee for one day £45
Concessionary fee for two days £45*
Concessionary fee for one day £30*
Early booking is advised. No refunds will be made for any cancellations made
less than two weeks before the conference.
*Concessionary rates are available to full-time students and unwaged. Please
send proof when booking.
Send booking forms to:
David Green,
School of Historical and Critical Studies,
University of Brighton,
10/11 Pavilion Parade,
Brighton,
BN2 1RA.
Tel: 01273 643014
Fax: 01273 681935
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