> ----------
> From: [log in to unmask]
> Sent: Friday, May 28, 1999 4:46 pm
> To: [log in to unmask]
> Subject: RE: CIHA LONDON 2000 Call for Papers
>
>
>
> ABSTRACT CALL FOR PAPERS STARTS HERE
>
> Thirtieth International Congress of the History of Art
> London, 3 - 8 September 2000
>
> Art History for The Millennium: Time
>
> The Call for Papers in Abstract
>
>
> 30 June 1999 is the Deadline for Proposals in the following Academic
> Sections
>
> 1. PLACE & TIME: The geohistory of art; definitions of national,
> regional and ethnic character in
> art historiographical, theoretical or methodological approaches ...
> (Thomas DaCosta Kaufmann /
> Elizabeth Pilliod)
> 2. PERIODISATION: Art-historical time in comparative historiography as
>
> challenged by the
> global field of artistic expression; the phenomena of time, both
> diachronic and synchronic ... Kitty
> Zijlmans / Ludmilla Jordanova)
> 3. CHRONOLOGY: The history of art history / museology as devoted to
> the cult of historical
> chronology and artistic evolution; style-change as emblematic of
> national,. social or political
> evolution ... (Donald Preziosi / Stephen Bann)
> 4. REVIVALS: The concept of "The Revival" as a tool of art-historical
> analysis; revivals in style
> and taste in world art; revival and evolution in art-historical time
> (Jean-Marcel Humbert / Richard Thomson)
> 5. DIVERSITY & DIFFERENCE: Eurocentric art-historical practice and its
>
> tendency to exclude
> as "ethnic" productions from outside its parameters and boundaries,
> ... artists from Latin-America
> (Cecilia Fajardo-Hill / Valerie Fraser)
> 6. OTHER MODERNITIES. Non-Euramerican Paradigms: Modernity in art
> comprising more
> than those modernisms which arose in Euramerica; art works and
> aesthetic sensibilities... other
> modernisms ... (John Clark / Oriana Baddeley)
> 7. SYMBOLS OF TIME : Allegories of time; visualisations of the passage
>
> and measure of time;
> the passage of time and the human condition; permanence, continuity
> and the ephemeral (Christian
> Heck / Kristin Lippincott,)
> 8. BEGINNINGS OF TIME: Theories and images of creation in world art
> and in all periods in
> their historical contexts, especially in regard to how they have been
> used polemically or transformed
> ... (Conrad Rudolph / Stacy Boldrick)
> 9. SPECIAL OCCASIONS: Visual culture as the medium of commemoration of
>
> events whatever
> the circumstances: state, civic, familial or personal; visualisations
> of a special occurrence in any
> form of world art ... (Andrew McClellan / Fintan Cullen)
> 10. TIME, LIGHT & COLOUR: The artistic challenge represented by the
> inter-related experience
> of time and light; the waxing and waning of light in the diurnal and
> annual cycle; representations of
> the times of the day (Fernando Marias / Paul Hills)
> 11. DANGEROUS TIMES: Visual culture and its response to unstable
> times, dangerous moments
> and cataclysmic events; the art of the Apocalypse; visual
> conceptualisations of the end of the world
> (Konstanty Kalinowski / David Bindman)
> 12. TIME & THE PUBLIC MONUMENT: Public monuments as attempts by
> individuals, groups
> or nations to project interpretations of past time into the future;
> the function of public monuments in
> society (Lars Berggren / Solfrid Söderlind)
> 13. VISUAL NARRATIVE TIME: Time in the visual arts from a structural
> and narrative point of
> view; movement, interaction & history painting; modes of narration -
> analysis and theory; time in
> literary & visual fiction (Götz Pochat / Valerie Mainz)
> 14. MEDIATING GENERATION: Conflicts of gender and memory; "generation"
>
> as both creation and age
> identity; collective cultural memories licensed by art; ageing
> populations and the disjunctures ... (Sigrid Schade
> / Marcia Pointon)
> 15. LOOK, SEE & BEHOLD: The spectator's time; time values in the
> perception and appreciation of works
> of art; the pleasure of gradual discovery; temporal succession ...
> (Johannes Nathan / Antoinette Roesler-
> Friedenthal / Shearer West )
> 16. TIME, VISION & THE BODY: Time, vision and body; the time-work of
> images; art dealing in time,
> changing over time, engaging in complex and manifold ways with time
> and its passing; reflections ... (Mieke
> Bal / Deborah Cherry)
> 17. DELAY & THE TIMELESS: The phenomenon of the variable speeds of
> time in visual culture and in
> writing about visual culture; the retardataire; the existence and
> meaning of repetition; stasis and timelessness
> ... (Cao Yiqiang / Craig Clunas)
> 18. AFRICAN ART TIME: Escaping European time - the discourses of
> colonialism, race and slavery;
> challenging the notion of the "essential" in African art - the
> "primitive", the "tribal" and the "traditional" ...
> (Ekpo Eyo / John Picton)
> 19 THE PATINA OF TIME: Material histories of paintings, drawings and
> sculpture (all ages and cultures);
> the increase in the value of art over time and time's destruction of
> objects; the criteria ... (Ségolčne Bergeon /
> Peter Humfrey)
> 20. ARCHITECTURE versus TIME: The surface of architecture as a medium
>
> of time; post-war modernism
> revisited; the modern construction-site and its impact on urban and
> architectural design; listing (Gabi Dolff-
> Bonekämper / Elain Harwood)
> 21. SCULPTURE & TIME Time and space in the undertaking of sculptural
> projects; sculptural technique
> and the constraints of time; sculpture out of time and place;
> sculpture isolated from its original context ...
> (Maylis Baylé / Eric Fernie)
> 22. SPEED & PACE: Moving and still images; speed as a
> time-and-space-based vector in photography and
> cinema etc.; time in any moving art images; the simulation of time
> passing in still images (painting and
> photography) (László Beke / Paul Overy)
> 23. DIGITAL ART TIME: The art-historical analysis of imagery created
> in digital media; web-sites and
> other digital resources in the teaching, learning, researching and
> publishing of art history; webmasters ...
> (Robert Derome / Will Vaughan)
>
> Further Information and Application Forms
>
> Website: http://www.sussex.ac.uk/Units/arthist/CIHA2000/
> Proposals (typed, on one side of paper only) should comprise:
> Title (no more than 20 words)
> 3-5 lines on aims of objectives of the paper
> A summary description of the material to be discussed
> The central argument
> Relation to the main themes of the preferred section
> (The official languages of CIHA are English, French, German or
> Italian)
> Post/Mail to: Karen Wraith
> Sussex Centre for Research in
> the History of Art
> Arts A, University of Sussex
> Falmer, Brighton BN1 9QN UK
> Telephone / Facsimile 44 (0) 1273 606755 / 44 (0) 1273
>
> 623246
> E/mail "[log in to unmask]"
>
> Nigel Llewellyn, Honorary Director, CIHA London 2000
>
>
>
>
>
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