July 30, 2010

Conference ‘Interspaces: Art + Architectural Exchanges from East to West’

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Interspaces: Art + Architectural Exchanges from East to West

20, 21 & 22 August, 2010

The University of Melbourne

Interspaces: Art + Architectural Exchanges from East to West is a conference that investigates modern crossovers between art and architecture in Europe, North America, Asia and Oceania. It focuses upon encounters between a variety of styles, mediums, and cultures, looking at the inter-relationships between art and architecture in Australia and across the world. Using innovative approaches from a broad range of disciplines, Interspaces will stimulate multi-disciplinary exchange and re-situate non-western art and architecture within the global canon. The conference program includes a public forum on Melbourne’s vibrant street art and talks by experts on historical, cultural and practical questions of art and architecture.

Keynote speaker

Romy Golan, City University of New York (author of Muralnomad: The Paradox of Wall Painting, Europe 1927–1957 and Modernity and Nostalgia: Art and Politics in France between the Wars)

Conference Program

Keynote Address: Friday, August 20, 6pm – 8pm, Elisabeth Murdoch Theatre

Papers: Saturday, August 21, 9am – 4:30pm, Architecture Building

Tour of Fitzroy Street Art: Sunday, August 22, 11am – 1pm [reservations essential]

Public Forum on Street Art: Sunday, August 22, 3pm – 5pm, James Hardie Theatre

Closing Address: Sunday, August 22, 5pm – 7pm, Elisabeth Murdoch Theatre

The conference will be held at the University of Melbourne, Parkville Campus. Attendance at the conference is free of charge and open to all. Students at all levels, practitioners in disciplines related to the conference, and the general public are welcome to attend and participate.

For more information www.culture-communication.unimelb.edu.au/interspaces%20.html

Please direct any enquiries to Anthony White a.white@unimelb.edu.au or +61 3 8344 3408

Interspaces is presented by The School of Culture and Communication at the University of Melbourne and the City of Yarra in association with the Initiative to establish the Australian Institute of Art History. Supported by The Cultural and Community Relations Advisory Group and The Faculty of Arts, University of Melbourne.

 

July 28, 2010

Lecture – Jane Wernwick ‘Engineering Delight – collaborations on projects to make you smile’

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Melbourne School of Design -  Faculty of Architecture, Building & Planning,  The University of Melbourne

Jane Wernick

Jane Wernick Associates, Consulting Engineers, London

Engineering Delight – collaborations on projects to make you smile

Tuesday 3 August

Singing Ringing Tree - Musical Sculpture for Burnley's Panoptican - Burnley, UK

Jane Wernick, one of the masterminds behind London’s Millennium Wheel, will give an intimate and engaging insight into her extraordinary engineering projects and consultative practice.

‘The talk will describe how structural engineering solutions for our projects are developed as a result of a series of conversations between us, the client, and the other members of the design team,’ Jane says. It will focus on a number of projects which ‘bring delight’ to those who experience them, and will describe how the structural designs evolved.

Jane Wernick (FREng Hon FRIBA FRSA CEng FIStructE FICE) is a structural engineer who likes to collaborate with architects and other designers on any project that gives delight. She worked for Ove Arup & Partners for almost two decades, where her most notable project was the Millennium Wheel. She now directs Jane Wernick Associates, the London-based practice she established in 1998. The award-winning firm is responsible for an extensive portfolio of buildings, bridges, sculptures and furniture, for local and international clients. Recent projects include: Xstrata Treetop Walkway, Kew (with Marks Barfield Architects); The Möller Centre, Cambridge (with dsdha); St. Mary’s School, Cambridge (with McAslan Architects); OKHTA Tower, St. Petersburg (with NewTecnics); South London Gallery – new extension and education building (with 6a Architects); BBC Scotland, Glasgow (with DCA). http://www.wernick.eu.com/

To coincide with the lecture, an exhibition of selected projects by Jane Wernick will be on display in the Wunderlich Gallery, Architecture Building, 2 to 8 August.

Date: Tuesday 3rd August, 7pm-8pm

Venue: Carrillo Gantner Theatre,  Basement, Sidney Myer Asia Centre,  The University of Melbourne

This is a FREE public lecture. Please register online at:  http://www.msd.unimelb.edu.au/events/deans-lectures/wernick/

For details about other lectures in the Dean’s Lecture Series 2010 please visit:  http://www.msd.unimelb.edu.au/events/deans-lectures/

 

July 28, 2010

Lecture – Robert Storr: A Tour of Babel Exhibitions and Fairs in a Shape-Shifting Art World

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Robert Storr

Dean, Yale School of Art

A Tour of Babel Exhibitions and Fairs in a Shape-Shifting Art World

Presented by the Monash Museum of Art and the Melbourne Art Foundation. This lecture is part of the program for the Melbourne Art Fair.

Where once there were only two biennials – Venice and Sao Paulo – there are now well over one hundred. Where once there were only a handful of art fairs, now there are dozens. And where once there were international styles, now there are global markets. Can sense be made of art and can ideas really be exchanged amidst this proliferation or have we entered into a period when scanning has replaced seeing, keeping track has replaced paying attention, and information has replaced meaning? – Robert Storr, 2010

Robert Storr is Dean of the Yale School of Art; and was previously the Rosalie Solow Professor of Modern Art at the Institute of Fine Arts at New York University. Robert was Artistic Director of the 52nd Venice Biennale in 2007, and Curator and Senior Curator in the Department of Painting and Sculpture at the Museum of Modern Art (MoMA), New York, from 1990 to 2002. Professor Storr is a painter, art historian and critic, and a prolific writer about the theory and practice of Art. He has been the curator of numerous exhibitions at MoMA and elsewhere, and the author of dozens of monographs and catalogues.

Venue: Fitzroy Town Hall – Corner Moor Street and Napier Street, Fitzroy

Date: Friday 6 August, 10am

Free entry but bookings essential – Book at www.melbourneartfair.com

Robert Storr Lecture Poster pdf

 

July 27, 2010

Lecture: Bill Henson ‘The Light and the Dark and the Shades of Grey’

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The Melbourne Art Foundation 2010 Lecture

Bill Henson

‘The Light and the Dark and the Shades of Grey’

BMW Edge, Federation Square

Monday 2 August, 6.00pm – 7.30pm

Presented by Monash University Museum of Art, Melbourne Art Foundation and the City of Melbourne’s Melbourne Conversations Program. This lecture is part of the program for the Melbourne Art Fair.

We should be wary of governments and interest groups who try to impose restrictions on the free exercise of the artistic imagination. Our zeal to protect innocence should not come at the cost of violating artistic experience. If we believe that art is a high form of education, that its basis is moral and its goal truth, then we should resist the impulse that would deny the artist the right to deal with what may sometimes be ambiguous, complex and disturbing. Artists can seem like holy fools, they can seem like devils. They may exhibit the cunning of the insane or the illumination of the saint. But genuine art is the great bridge between the inner world in each of us and the ordinary world in which we live. Art shows us the truth and it should never be the quarry of the witch-hunter or the social engineer. Any attempt to make the world better by destroying or shackling art represents a repudiation of the truth – Bill Henson, 2010.

Bill Henson is one of Australia’s leading contemporary artists. Born in Melbourne in 1955, Henson had his first solo exhibition, at the age of 19, at the National Gallery of Victoria in 1975. He has since exhibited extensively in Australia and overseas, including New York, London, Paris, Beijing, Tokyo, Montreal, Barcelona, Vienna and Amsterdam. In 1995 Henson represented Australia at the Venice Biennale, with his celebrated series of cutscreen photographs. He holds an honorary doctorate from the University of NSW.

In 2005 a comprehensive survey of Bill Henson’s work was held at the Art Gallery of New South Wales in Sydney and National Gallery of Victoria in Melbourne; and a major body of work was presented in Twilight: Photography in the Magic Hour at the Victoria and Albert Museum, London, in 2006. A number of major monographs on the artist’s work have appeared over the years, the most recent being Lux et Nox (2002) and Mnemosyne (2005); both published by Scalo (Switzerland). A second edition of Lux et Nox was published by Thames & Hudson in 2009.

Date: Monday 2 August, 6.00pm – 7.30pm

Venue: BMW Edge, Federation Square

Free entry – Doors open from 5.30pm

Bill Henson Lecture Poster pdf

 

July 27, 2010

Lecture – ‘Art History and the Diaspora: Ernst Gombrich and the problem of being a Viennese art historian in London’

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Professor Richard Woodfield

University of Glasgow

Art History and the Diaspora: Ernst Gombrich and the problem of being a Viennese art historian in London

6-7 pm Wednesday 11th August

Ernst Gombrich

Although Ernst Gombrich attained great eminence through his publications The Story of Art (1950) and Art and Illusion (1960), the precise nature of his work as a commentator on the academic practice of art history never really found a home in British art history. Unlike Erwin Panofsky, who adjusted to the American scene by dropping his commitment to abstract theory, Gombrich’s theoretical commitments were always at the front of his mind. Two of the great English art historians, Lord Clark and Francis Haskell, admitted that they never properly understood him. Norman Bryson, Gombrich’s arch-critic, failed even to recognise his involvement with semiotics decades before it became fashionable. Gombrich’s approach to art history was deeply Viennese, as were his theoretical commitments, but as an outsider he was probably more sympathetic to the distinctive qualities of British art than the Brits themselves. As a student and collaborator of Freud’s disciple Ernst Kris he pursued masterly work on the topic of caricature and as a student of Julius von Schlosser he was a critic of British insularism and emphasised the need to look at the development of English art within a European context. Thus although he worked as a Viennese ‘provincial’ in a major international capital city, which was also one of the most advanced scientific centres in the world, he demonstrated that it remained parochial in its attitudes to both its own art and its own study of its history.

Richard Woodfield – After retiring from his role as Research Professor in the School of Art and Design at Nottingham Trent University, Professor Woodfield was appointed Honorary Senior Research Fellow in Art History at the University of Glasgow. With Glasgow’s support he created the online Open Access Journal of Art Historiography, and will also publish a book series, Glasgow Monographs in Art Historiography. Since first working with Professor Gombrich in 1970 as a research student, he maintained his involvement with him to produce Gombrich’s Reflections on the History of Art in 1986, The Essential Gombrich in 1996 and create the online Gombrich Archive. He has also produced many other books and articles related to art historiography and the theory of the image and has played a prominent role in the international development of aesthetics.

Time: Wednesday 11th August, 6-7pm

Venue: Elisabeth Murdoch Lecture Theatre, The University of Melbourne (Parkville).

 

July 26, 2010

Conference ‘Charles Darwin and the Art of Evolution’

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Charles Darwin and The Art of Evolution

Conference, 9-11 September 2010 Art Gallery of New South Wales

Patricia Piccinini, 'Psychotourism', 1996. Viktoria Marinov Bequest Fund 1999 © the artist, courtesy Roslyn Oxley9 Gallery, Sydney

Conference presented by the University of New South Wales College of Fine Arts, the Art Association of Australia and New Zealand (NSW Chapter) and the Art Gallery of New South Wales, in association with National Institute of Dramatic Art.

During Charles Darwin’s five-year round-the-world voyage, he surveyed the fauna and flora of many countries, particularly in South America and Australia. He was, in fact, the first British scientist to study a platypus in its natural environment – a creek at Bathurst. These observations formed the basis for his theory of evolution by natural selection. From publication of The Origin of Species, most intellectual disciplines have been transformed by his theories of evolution. This is most potently revealed by visual cultures in the form of art, anthropological, medical, scientific and popular press imagery, as will be demonstrated by this conference.

Charles Darwin and the Art of Evolution will explore the impact of Charles Darwin’s theories upon art and other visual cultures and the ways they, in turn, illuminate intriguing dimensions of his theories. Since Darwin sailed into Sydney Harbour on 12 January 1836, this conference will begin by exploring Charles Darwin’s ventures in Sydney Cove through art, his contact with the Indigenous people of New South Wales and his collection of 92 Australian species. (more…)

 

July 22, 2010

Call for Papers: Tradition and Transformation in the seventeenth and eighteenth centuries

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AAANZ Conference, Adelaide 1-3 December 2010

Session Call for Papers – ‘Tradition and Transformation in the seventeenth and eighteenth centuries’

In keeping with the overall theme of the conference, this session proposes to examine the broad theme of artistic engagement with tradition and its transformative outcomes in artistic theory and practice during the Baroque and Rococo periods. In an era when artists worked within largely traditional networks of production and patronage, how did they negotiate/subvert/enforce tradition? This session welcomes papers that address any aspect of theory and practice across all media 1600-1800.

If you would like to contribute a paper for this session please contact the convenors:

David Maskill Senior Lecturer, School of Art History, Classics and Religious Studies, Victoria University of Wellington – david.maskill@vuw.ac.nz

Associate Professor Jennifer Milam, Department of Art History and Film Studies, University of Sydney -  jennifer.milam@usyd.edu.au

For full details of AAANZ call for papers see the previous post AAANZ Call for Papers

Tradition and Transformation in the seventeenth and eighteenth centuries.

In keeping with the overall theme of the conference, this session proposes
to examine the broad theme of artistic engagement with tradition and its
transformative outcomes in artistic theory and practice during the Baroque
and Rococo periods. In an era when artists worked within largely traditional
networks of production and patronage, how did they negotiate/subvert/enforce
tradition? This session welcomes papers that address any aspect of theory
and practice across all media 1600-1800.

All my best,
Jennifer

Associate Professor Jennifer Milam
Department of Art History and Film Studies
Room 213, Mills Building (A26)
9351-4210
jennifer.milam@sydney.edu.au

 

July 21, 2010

Call for Papers: Elegance and Excesses: war, gold and borrowings: architecture in the 1860s in New Zealand

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Elegance and Excesses: war, gold and borrowings: architecture in the 1860s

Date: Friday 3rd December 2010

Venue: School of Architecture, Victoria University, Wellington

Convener: Christine McCarthy (christine.mccarthy@vuw.ac.nz)

Call for Papers Abstracts due: Monday 30th August 2010

The 1860s were an eventful time for architecture in New Zealand. On the eve of the decade, in 1859, William Mason became the first person to be a registered architect in New Zealand. The scene was thus set for the English idea of architecture as a profession to more substantially impact on our land. From the decade’s beginning were the start of civil wars and the discovery of gold, with New Zealand’s first major gold rush in Otago. It was war and gold which crudely distinguished the decade’s histories of the North Island and South Islands.

Papers (15-20 min) presenting new research which examines any aspect of this period of New Zealand architectural history are called for from academics, practitioners, heritage consultants, and postgraduate students. The symposium is one of a series of annual meetings examining specific periods of New Zealand architectural history. It is intended that papers comprising the proceedings will be made available through the Victoria University institutional repository within a year of the conference.

A more detailed CFP can be found on the s-architecture blog here. (more…)

 

July 21, 2010

Exhibition – ‘Backstage with the Ballet Russes by Daryl Lindsay’

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The new gallery at the National Trust of Australia (Victoria) in Tasma Terrace, East Melbourne will open this Saturday, 24th July with the exhibition Backstage with the Ballet Russes (1936-40).

The exhibition will show thirty rare and never been seen before sketches of the Ballets Russes from Sir Daryl Lindsay, former Director of the National Gallery of Victoria. Sir Daryl Lindsay joined a list of many notable Australian artists who found inspiration in the tours of the Ballets Russes. These thirty sketches from Lindsay include costumes from the Australian Ballet.

The launch of BackStage with the Ballets Russes by Daryl Lindsay (1936-1940) coincides with the opening up of the Trust’s headquarters – Tasma Terrace – to the public during the weekend of 24 & 25 July as part of Melbourne Open House. Tasma Terrace will be open 10am – 4pm Saturday and Sunday, 2 – 12 Parliament Place, Melbourne.

(more…)

 

July 19, 2010

Call for Papers: ‘Perspectives on public space in Rome, from antiquity to the present day’

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Perspectives on public space in Rome, from antiquity to the present day

Biennial of Public Space

Italian National Institute for Urban Planners (INU) Ex-Slaughterhouse in Testaccio

Rome, Italy – May 13-14, 2011

Please direct all enquiries to the organisers - Gregory Smith gos2@cornell.edu Cornell in Rome and Jan Gadeyne jg385@cornell.edu Cornell in Rome

Website: http://www.biennalespaziopubblico.it/en/

The conference is an integral part of the three-day Biennial of Public Space organized by the Italian National Institute for Urban Planners (INU). It wishes to bring together various perspectives on public space in the city of Rome pertaining to any historical period. The aim of the conference is to open debate on the notion of public space across time, interpreted as a fluid concept having architectural, institutional, political, social, religious, phenomenological, and artistic relevance. These suggestions are by no means exhaustive, and wish simply to establish a point of departure for the ways public space is used as a cultural concept. The uniting feature of the conference is its focus on the city of Rome through the ages.

Of special interest are the following areas:

  • Representations of public space in painting, poetry, theatre
  • Management of public space
  • Architectural design of public space
  • Political uses of public space

Ideally the conference will result in a collection of essays published in English. Those interested in participating should submit a two-hundred-word proposal to the organizers and a one-page cv. The deadline for submitting a proposal is October 1, 2010. Acceptance will be notified by October 15, 2010.

 

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