The 2013 AAANZ annual conference will take place in Melbourne, December 7-9. It is being hosted by the University of Melbourne (VCA and Art History), National Gallery of Victoria and RMIT. It will include sessions on the history of art and other visual arts disciplines, art theory, and practice-based research in art, design and architecture.
The 2013 conference ‘Inter-discipline’ will be held across venues at the VCA, NGV and RMIT, December 7-9th 2013.
Registration for the full conference is via this link
Full program now available on the AAANZ website.
Stay in touch via facebook and twitter - during the conference you can use the conference hashtag #aaanz2013
Keynotes
Saturday 7th December | Paul Wood | ‘World Art History’ and ‘Contemporary Art’: two strangers seeking an introduction
The relationship between art history and art practice is mobile and unresolved. While the province of the former lay securely in the past their distinction was evident. The more art history encroaches on the present, the less that is the case. Furthermore, not only is the remit of history changing, its changes are now irreversibly affected by geography.
As we are constantly reminded, the present is an epoch of globalisation. The discourse of ‘world art history’ is spoken in the academy, which remains, albeit to a diminishing extent, distinct from the market. The discourse of ‘contemporary art’, while increasingly heard in academe, is inseparable from the market. Both are products of globalisation. This paper looks at dominant formulations of both discourses, and speculates about their actual and possible relationships.
Paul Wood is Senior Lecturer in Art History at the Open University, England. He is co-editor, with Charles Harrison and Jason Gaiger, of the three-volume Art in Theory, an anthology of changing ideas about art from the founding of the Academy to the end of the twentieth century (Blackwell, 1992-2003). He is the author of Conceptual Art (Tate Publishing, 2002) and Western Art and the Wider World (Wiley-Blackwell, 2013).
Sunday 8th December | Sarah Wilson | Deleuze and interdisciplinarity: from Capitalism and Schizophrenia to the Centre Georges Pompidou
Deleuze was innately interdisciplinary. The Deleuze industry explodes with guides, interpretations, preposterous concepts — ‘Dr Who’s body without organs’—never rooting his thought, writing and action in the Paris of his times; a Paris after 1968, schizophrenic in terms of the death agonies of Communism, Maoism and a proliferation of neo-marxisms coexisting with rampant capitalism and an increasingly sophisticated ‘culture industry’… a Paris exploding with new liberties yet encircled with old institutions: overcrowded universities and prisons in the age of Concorde and the Pill, the apothesis of experimental cinema… Via his passions Artaud, Bacon, Klossowski to Richard Lindner or Gérard Fromanger, to Jean-Jacques Lebel or Ipousteguy, and finally to the citadel of interdisciplinarity, the Pompidou Centre itself… we trace the unknown Deleuze who lectured on ‘Musical Time’ for IRCAM with Pierre Boulez and was finally commemorated on the tenth anniversary of his death with a special Pompidou Centre album in 2005.
Keynote speaker supported by AICA International Association of Art Critics, Australia
Professor Sarah Wilson is an art historian and curator whose interests extend from postwar and Cold War Europe and the USSR to contemporary global art. She was educated at the University of Oxford (English Literature) and at The Courtauld where she took her MA and Ph.D degrees. In 1997 she was made Chevalier des Arts et des Lettres by the French Government for services to French art and culture. In 2008 she was a presidential candidate for the International Association of Art Critics (AICA).
Monday 9th December | David Joselit | A Multitude of Images
A multitude denotes a plurality of people or things. According to the Oxford English Dictionary it signifies ‘the character, quality, or condition of being many.’ The subject of this lecture will be the condition of being many with regard to images, for indeed it is possible to define modernism as a response to ‘a multitude of images.’ The lecture will range from early 20th century montage to recent practices of aggregating readymades among contemporary artists.
Professor David Joselit is a leading scholar and critic who has written about pivotal moments in modern art ranging from the Dada movement of the early twentieth century to the emergence of globalization and new media over the past decade. Professor Joselit is currently Carnegie Professor and Chair of the History of Art department at Yale University and an editor of OCTOBER. He also worked as a curator at the Institute of Contemporary Arts, Boston in the 1980s and regularly contributes to Artforum and Art in America. Professor Joselit also maintains a strong interest in gender, queer, and feminist studies. His publications include: After Art (Princeton University Press, 2012); Feedback: Television Against Democracy (MIT Press, 2007); Infinite Regress: Marcel Duchamp 1910-1941 (October Books; MIT Press, 1998); and American Art since 1945 (Thames and Hudson, 2003).
Individual tickets
David Joselit | Full-price: $40 Student/concession: $10 NGV Member: $35 | Bookings: http://www.