AAH Conference 2013 call for papers
A couple of panels of interest are highlighted below but a full list of sessions can be found at
http://www.aah.org.uk/annual-conference/sessions2013
Deadline: 12 November 2012.
39th Annual Conference and Bookfair
University of Reading
11-13 April 2013
Art Works!
Jo Anna Isaak, Fordham University,
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Today, an increasing number of artists have taken up the truly radical idea that art could become useful – reversing the long process by which art became formalised and divorced from social and practical considerations.
The panel invites theoretically engaged, interdisciplinary papers that present new research on socially directed art practices:
artists or art organisations collaborating with specialists in other fields (material scientists, botanists, marine biologists, farmers, engineers, city planners, etc),
artists working in nontraditional media and nontraditional contexts designing recuperative projects for degraded environments, creating solutions that address specific social and environmental needs, working on issues of environmental justice, or sustainability,
or providing prototypes that can be adapted by individuals, communities, city planners and industry.
This session focuses on the social, political, intellectual and commercial implications of art that has departed the gallery, left the wall behind the couch, and gone to work!
Thinking and Rethinking Exhibition Histories
Lucy Steeds, University of the Arts London,
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Antony Hudek, University College London, [log in to unmask]">
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Exhibitions of contemporary art over the last 50 years are increasingly a focus for academic study. This session seeks to reflect on this development, addressing what it might mean to analyse contemporary art not in the context of when and where it is made,
but of its public display. At a moment when a new field of exhibition studies seems to be emerging, and when art history is turning to exhibitions as legitimate research ‘outputs’, it is time to consider the historiographic question of the relationship between
exhibition studies and neighbouring fields: art history, of course, but also sociology, philosophy and visual and cultural studies.
Attention needs to be paid to the distinctive nature of exhibitions as time-based and spatial entities involving artists, curators, designers and, not least, publics. However, this begs questions of definition, and prompts us to ask what kind of histories might
be made out of, say, a performance at an opening or exhibitions produced solely for publication, television or the internet. Debating the implications of a history premised on ‘landmark’ exhibitions will be central to this session, as will exploring the use
in exhibition studies of methods of historical enquiry that privilege the transient and ‘minor’ over the canonical. Moreover, roles for archaeology, genealogy, or theories of the event or longue durée might be addressed.
We invite papers from art historians, curators and others interested in thinking through or rethinking existing historiographic models for the study of exhibitions from a variety of geopolitical perspectives.
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