TV Interruptions (7 TV Pieces), TV shoot-out piece 1971, 2.4 mins b/w video

Call for Papers – 50 Years of British Artists’ Moving Image | MIRAJ Issue 6.1/6.2

Moving Image Review & Art Journal

Issue 6.1/6.2

50 Years of British Artists’ Moving Image

Call for Papers | Deadline: 15 August 2016

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On the occasion of the fiftieth anniversary of the London Filmmakers’ Cooperative (LFMC) and the fortieth anniversary of London Video Arts (now LUX), articles are invited that reflect upon the histories, contexts and legacies of artists’ film and video practices in Britain since 1966. Both organisations played a significant role in the development of the distinctive and diverse artists’ moving image culture experienced in the UK today. This double issue of MIRAJ marks these anniversaries in order to draw forth new scholarship and research in a vital field of study and practice. This issue will be guest edited by Benjamin Cook and Lucy Reynolds.

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Download Call: MIRAJ 6.1_

We invite articles that examine:

  • •      Ecologies of practice, distribution and production (including workshops, funding, the academy, distributors, collectives, co-operatives, galleries, festivals, the art market, television and the internet).
  • •      Spectatorship (spaces and patterns of reception from museums to micro-cinemas, from festival to home viewing and online).
  • •      International links, networks and perspectives (in particular encouraging dialogues concerning a non-Western axis).
  • •      Scholarship then and now (magazines, film journals, educational contexts).

We encourage articles that debate:

  • •      What was and what continues to be at stake in contemporary British artists’ moving image culture.
  • •      Interplay and tensions between moving image culture and contexts such as artists’ film production and film industry, experimental film and the art world.
  • •      The dialogues between earlier movements and contemporary practices.
  • •      Technological shifts and the significance of medium specificity in the digital age.

We welcome articles that explore:

  • •      Original theoretical and interdisciplinary methodologies for the historiography, analysis and discourses of post-war artists’ moving image practices in Britain.
  • •      Posit new research and perspectives on figures and contexts overlooked or under-represented.
  • •      Dissect and examine existing canonical representations of key figures and contexts.

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Please submit completed manuscripts only. Send all contributions and proposals by e-mail in Word format to the Editorial Assistant: [email protected]

The Moving Image Review & Art Journal (MIRAJ) is the first peer-reviewed publication devoted to artists’ film and video, and its contexts. It is published twice a year in print by Intellect Books in collaboration with the University of the Arts London. MIRAJ offers a widely distributed international forum for debates surrounding all forms of artists’ moving image and media artworks.

For more information please visit: http://www.intellectbooks.co.uk/journals/view-Journal,id=207/view,page=0/

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Call for Papers: What is the relevance of Adorno’s Aesthetic Theory today?

International Conference Call for Papers

What is the relevance of Adorno’s
Aesthetic Theory today?

Organized through the Université Renne 2

http://www.adornostudies.org/wp-content/uploads/2016/07/International-Conference-Adorno-Rennes.pdf

In his Theory of the Avant-Garde Peter Bürger maintained that “the norm of all contemporary aesthetic theory is Adorno’s aesthetics.” What remains of this “norm” of Adorno’s Aesthetic Theory more than forty years after its publication?

This two-day international conference will take place at the University of Rennes 2, in October 2017, and will be presided by Christophe David (senior lecturer, History and Critique of the Arts) and Florent Perrier (senior lecturer, Practical Arts and Poetics). The conference will be conducted in French and English.

This call of papers is addressed to scholars working in aesthetics, in philosophy of art, in political philosophy, in sociology, in history of art, in musicology, in literary history, literary theory, and so on.

The questions we would like to explore during the two days of the conference are the following:

  • The pre-history of Ästhetische Theorie. The point is to explore how these questions, which became thematic in the 30s and 40s (the fetish character of art, dissonance, and so on) find themselves changed, or unchanged, in Ästhetische Theorie in the 60s, to determine the ongoing or transformed role of the decisive early influences (for instance, that of Georg Lukàcs) or the exchanges with his friends (Walter Benjamin, Ernst Bloch, Alfred Sohn-Rethel). What is the role of Schönberg in Ästhetische Theorie now that this artist no longer has a central position? What are the differences between the Schönberg of the first part of the Philosophie der neuen Musik (written in 1940-41) and that of the Darmstadt conferences?
  • The relation between Ästhetische Theorie and the courses on aesthetics of the 1950s (Vorlesungen. Ästhetik [1958-59], Surkamp, 2012).
  • The references to the aesthetic tradition (Baumgarten, Schiller, Rosenkranz, Corce, Dewey, Dilthey, and so on) and the “metacritical” moments (the critique of Kant, Hegel, Nietzsche, Freud, and the other towering figures in the history of art criticism). The major aesthetic questions that are replayed or reinvented: appearance, mimesis, natural beauty, artistic beauty, the sublime, and so on. The relation between Ästhetische Theorie and Ohne Leibild. Parva aesthetica.
  • The major elements in the analysis of the critique of the culture industry. The dialectical opposition between autonomous art and administered art in the culture industry. What place does the critique of culture occupy in Ästhetische Theorie? And how might Ästhetische Theorie help inform the critique of culture today?
  • The articulation between Dialektik der Aufklarüng and Ästhetische Theorie is also played out in the identification of art as a symbolic form that partakes in (as a “secularization of transcendence”) the movement of emancipation from myth. The political and moral import of art as a symbolic form, then, as it emerges against the backdrop of Auschwitz, and against the epoch of the culture industry and the industries of culture.
  • The approach and analysis of the arts (music, literature, cinema, etc.) and of artworks (Ästhetische Theorie contains numerous highly suggestive analyses of works that evidently demand further development) the classical artists (Bach, Baudelaire, Beethoven, Goethe, Wagner) and the modern ones (Beckett, Brecht, Celan, Kafka, Picasso, Valéry) in Ästhetische Theorie. The question of the avant- gardes (and of all the “isms”). The treatment of contemporary art (by means, for example, of the young musicians of Darmstadt). The question of the relation of the philosophy of the arts. Philosophy, interpretation and criticism or critique.
  • The question of the political or of politics in Ästhetische Theorie. Works of art play a role in the political transformation of the administered world. Administered world and administered art. Aesthetic autonomy and political liberty. The question of utopia: “Every artwork has a utopian function to the extent that, through its form, it anticipates a reality that would at last be itself […] But because utopia—what is not yet—is veiled in darkness, it maintains through all its mediations that character of a memory, a memory of the possible against the real, something like the imaginary compensation for the catastrophe of universal history.” Is Ästhetische Theorie indeed a “materialist and dialectical aesthetics”? What relation does Ästhetische Theorie have to Marx?

The proposed papers may be sent in French, German, English or Spanish (a title and summary of no more than 15 or 20 lines) should be sent before October 20th 2016 to Christophe David ([email protected]) and Florent Perrier ([email protected]). Please include a notice of 5 to 6 lines (full name, university affiliation if you have one, your most important articles or books). Your talk must not exceed 25 minutes and may be delivered in French or English.

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Call for Papers: Politics and Sartorial Styles in Britain, 1859-1914

Essays are sought for a proposed collection exploring the links between Victorian political sartorial style and metaphors and analogies of clothing in political thought of the period.

When Walter Bagehot, the mid-Victorian journalist and Liberal economic advisor, wanted to explain changes in the operations of parliamentary government that had resulted in contentment among his contemporaries, he resorted to a sartorial metaphor. “Thirty years ago,” Bagehot writes in The English Constitution, “the nation had outgrown its institutions, and was cramped by them. It was a man in the clothes of a boy; every limb wanted more room, and every garment to be fresh made.” Similarly, John Morley, one of Britain’s premier politicians and John Stuart Mill’s leading disciple, analogized political change to dress in his study of Diderot and the French philosophes. “Form of government is like the fashion of a man’s clothes; it may fret or may comfort him,” Morley writes, “may be imposing or mean, may react upon his spirits to elate or depress them.” The liberal political theorist Herbert Spencer saw even more direct links between attire and political ideology: “Whoever has studied the physiognomy of political meetings, cannot fail to have remarked a connection between democratic opinions and peculiarities of costume.” All three men also happened to be known for their apparel.

The objective of this essay collection—for which expressions of interest and abstracts are sought—is twofold. Through analyses of metaphors and analogies in political novels, treatises, and other written and visual texts, it seeks to document the role of clothing in the Victorian political imagination. Through the study of historical personages or fictional characters, it also aims to explore the ways in which clothes either defined and displayed political identities or conversely symbolized the state of objectivity to which liberalizing individuals in this period aspired.

Proposals are invited for essays (approximately 10,000 words). Topics might include but are not limited to: dress in political novels; metaphors and analogies in key works of political thought; portraiture, caricature, and photographs of political thinkers and leaders; sartorial unremarkableness (“I hold that gentleman to be the best dressed whose dress no one observes,” Anthony Trollope once remarked) and sartorial eccentricity (“primly neat but quaintly unconventional garments,” as Herbert Spencer was described); disinterestedness and detachment in bodily comportment and dress; politics, sociability, and dress (clubland); accessories (the Gladstone bag, the Primrose League pin, the pocket watch); and attire and professional consciousness within British liberal culture. If you are interested in contributing, please send a 250 word proposal and CV by September 15, 2016. Those papers selected for inclusion will be due July 15, 2017. Several publishers have expressed interest in this project. Queries and abstracts to Kevin A. Morrison, Syracuse University Department of English, [email protected]

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Matter and Meaning: Materiality and the Visual Arts Archive

ARLIS/Committee for Art and Design Archives Symposium – ‘Matter and Meaning: Materiality and the Visual Arts Archive’

DATE: Friday 23 September 2016

TIME: 10.00am – 6.30pm

VENUE: University of Brighton, Room M2, Grand Parade, BN2 0JY

‘On the one hand… material is discussed today in the light of an idea that it has been dissolved by the so-called immaterialities of new technologies, while on the other – from the margins – we can observe the consolidation of material as a category of its own’.

– (Monika Wagner)

Within the expanding digital environment that encompasses our professional and personal experience, ideas of materiality have received extensive recent attention, across a range of disciplines, including anthropology, archaeology, art history, literary studies and material culture.  As yet, archival theory and practice have given limited consideration to materiality as an approach to the archive. Conservation practices, while focussing on material qualities of archives, may not attend to more philosophical implications beyond technical research. This symposium seeks to reach across and between these various bodies of knowledge, considering materiality as a framework for analysing, interpreting and engaging with archives of art and design.

To view the full event page for the Symposium, including the programme, please visit the University of Brighton website:

http://arts.brighton.ac.uk/research/research-events/research-exhibitions-and-events2/materiality-conference

Materiality and the Visual Arts Archive: Matter and Meaning

arts.brighton.ac.uk

Materiality and the Visual Arts Archive: Matter and Meaning at University of Brighton, College of Arts and Humanities

If you would like to book a place please visit the Arlis Events page to register and pay: http://www.arlis.net/events

Please note that lunch is not provided

leeds

Call for Papers: Private Collecting and Public Display: Art Markets and Museums

Centre for the Study of the Art and Antiques Market

University of Leeds

Private Collecting and Public Display: Art Markets and Museums

University of Leeds, 30th-31st March 2017

Keynote Speaker: Dr. Susanna Avery-Quash, Senior Research Curator (History of Collecting) at the National Gallery, London 

Deadline for Abstracts: Tuesday 1st November 2016

Download Call here: CFP Private Collecting and Public Display- Art Markets and Museums

This two-day conference investigates the relationships between ‘private’ collections of art (fine art, decorative art and antiquities), and the changing dynamics of their display in ‘public’ exhibitions and museums. This shift from ‘private’ to ‘public’ involves a complex dialectic of socio-cultural forces, together with an increasing engagement with the art market. The conference aims to explore the relationship between the ‘private’ and ‘public’ spheres of the home and the museum, and to situate this within the scholarship of the histories of the art market and collecting.

Art collections occupy a cultural space which can represent the individual identity of a collector; often as a manifestation of self-expression and social class. Many museums today arose from ‘private’ collections including the Wallace Collection, Musée Nissim de Camondo, the Frick Museum and the Isabella Stewart Gardner Museum. Whilst they now exist as ‘public’ spaces, many still signify the residues of the ‘private’ home of a collector. What processes do collections undergo when they move from a ‘private’ sphere to a ‘public’ exhibition space? In what ways are collections viewed differently in these environments?

How and when do ‘private’ collections move into the ‘public’ domain, and what does this tell us about the increasingly porous nature of these boundaries? Whilst the relationship between ‘private’ and ‘public’ art collecting takes on particular forms from the early modern period onwards, it emerged particularly in the latter half of the nineteenth century, with the creation of temporary exhibitions and permanent displays in museums that relied on donations from collectors. Many national museums are indebted to loans made by private individuals. The Waddesdon Bequest at the British Museum, the Wrightsman Galleries at the Metropolitan Museum, and the John Jones collection at the Victoria and Albert Museum, are key examples of the continuity of the private in the public. What are the ‘private’ to ‘public’ dynamics of these exchanges? How have museums negotiated the restrictions proposed by the collector for the display, containment, expansion or reinterpretation of their collection? What is the implication for the status and value of an object when ‘public’ works are sold and re-enter the art market? What meanings are attached to ‘public’ art objects when they begin, once again, to circulate in the art market?  

The PGR subcommittee of the Centre for the Study of the Art and Antiques Market welcomes proposals for 20-minute papers which explore these themes or which address any other aspect of the private collecting and public display of collections, from the Early Modern period until the 21st century. We are delighted to confirm Dr. Susanna Avery-Quash, Senior Research Curator (History of Collecting) at the National Gallery, London as our keynote speaker.

Topics can include but are not limited to:

  • The relationships between ‘private’ and ‘public’ spheres
  • The role and impact of the art market in the ‘public’ and ‘private’ realms
  • The history and role of temporary loan exhibitions
  • The role played by gender in collecting practices and bequests
  • Collecting and loaning objects by minority groups
  • Legacies of the collector
  • Philanthropy vs self-promotion
  • Deaccessioning- public museums selling art back into art market/into private collections
  • The dynamic of contemporary art collecting and public art galleries

To propose a paper: Please send a Word document with your contact information, paper title, an abstract of 300-500 words, and a short biographical note. Full session proposals for a panel of three papers are also welcomed. Some travel bursaries will be available for accepted speakers.

Proposals should be sent to [email protected] by 1st November 2016.

CALL FOR PAPERS: Nordic Forum for Design History Studies conference 2016

DESIGN EDUCATION IN THE NORDIC COUNTRIES

23–24 September 2016

Aalto University School of Arts, Design and Architecture (Arabia campus), Helsinki, Finland

Confirmed Keynote Speaker:

Kjetil Fallan, Professor in Design History, University of Oslo, Norway

Confirmed Panelists:

Kerstin Wickman, Professor Emerita, Sweden

Christina Zetterlund, Professor, Konstfack, Sweden

Anders V. Munch, Professor, The University of Southern Denmark

Harpa Thorsdottir, Museum director, Museum of Design and Applied Art, Iceland

Ida Kamilla Lie, PhD student, University of Oslo, Norway

Kärt Summatavet, PhD, researcher, Tallin, Estonia

At the time of big changes in designer profession globally, the Nordic Forum for Design History Studies conference 2016 turns to examine design education. The conference aims to map the history of design education in the Nordic countries and to survey what is the status of research in this area today. The conference will reflect critically on how the history of professional education is linked to the writing of Nordic design histories and what are the relevant methods of research here.

Nordic design is often presented as a uniform and homogenous phenomenon. What is common and shared, then, when one looks at Nordic design from the perspective of education; is there a special “Nordic design education method”? What are the similarities and differences of educational programmes? Can one talk about regionalism or are national accents or specialities offered by individual schools more significant?

The conference examines interaction within the Nordic region and in the international framework. What was the relation to the German Bauhaus and other 20th century progressive design schools in Europe and in the USA? What kind of connections were there to design schools of the Baltic countries during Soviet era and later. And how is it now: what is the status of education in national design policies of the Nordic countries?

We welcome abstracts for 20 minutes conference papers from scholars from a diverse range of disciplines on the theme of design education. Topics that may be considered include, but are not limited to:

– Methods of research in design education

– Locality / nationality as context of design education

– Interaction and collaboration between Nordic actors of design education

– Bauhaus and other “foreign” influences in Nordic design education

– Links to design schools in the region of the former Soviet Union

– Professionals coming outside of design education

– Charateristics of contemporary design education in the Nordic countries

– Design policies and design education in the Nordic countries

– Turning points in design education

– Continuum and ruptures in the design curriculum

– Role of history in design education

Deadline for submission: 15 August 2016
Please send an abstract (up to 250 words) by 12th of August 2016, including a short biography (up to 50 words) to [email protected]

GENERAL INFORMATION ABOUT THE CONFERENCE

The conference will consist of one keynote lecture, 1–2 sessions of selected papers and a panel of invited speakers on the topic of Design education in the Nordic Countries. The conference takes place at the Arabia campus of Aalto University School of Arts, Design and Architecture (Hämeentie 135 C). The conference times are

– Friday 23th from 1 PM to 5 PM

– Saturday 24th from 10 AM to 5 PM.

Additional programme includes

– Visit to the exhibition Eero Aarnio at Design Museum Helsinki on Saturday 24th from 5 PM to 7.30 PM

– A conference excursion on Sunday 25th from 10 AM to 3 PM, TBC.

Conference fee 30 euros per person + extra fee for excursion, TBC.

Registration in advance by 28 August, 2016 to [email protected]

The conference in Helsinki is organized by Aalto University and Design Museum Helsinki in collaboration with the Nordic Forum for Design History Studies network (Nordiskt Forum för Designhistoria). The Nordic Forum is a seminar that is organized every second year in the five Nordic countries alternately. The purpose of the activity initiated in 1983 is to enhance contact and dialogue between researchers.

More information:

Leena Svinhufvud
[email protected]
M +358 (0)40 535 7777

Pekka Korvenmaa
[email protected]

M +358 (0)50 5051154

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new Art new Audiences Scheme 2016 – Now Open

This award scheme is administered through the British Council. The British Council is an international organisation with the purpose of providing educational opportunities and securing cultural relations. new Art new Audiences makes up one of the three funding opportunities of the British Council’s East Africa Arts Programme, which is British Council’s framework for working with Kenya, Uganda, Tanzania, Rwanda, Ethiopia and the United Kingdom.

The intention behind this grant scheme is to build connections between modern East African and British culture in order to increase knowledge and understanding within the creative industries. It is expected that this scheme will allow artists to make new partnerships. Projects should produce new art either within or across the relevant art forms.

Artists, musicians, film makers and cultural organisations are eligible to apply. The art form in question should fall within one of the following categories: architecture, design fashion, film, music, dance and theatre, creative economy, cultural skills unit, literature and visual arts. Individuals may apply as long as they have sufficient experience of managing projects of a significant, comparable scale. They should also have a bank account.

Projects should work across two East African countries and one country in the United Kingdom and should be conceptualised, managed and administered by one East African or United Kingdom based partner. The audience and participants who will be involved within the project should be between the ages of 18 and 35. The applicant may however be of any age.

Grants worth between £2,000 and £20,000 are available. Expression of interest forms can be downloaded from the British Council website. After the deadline has passed, the judging panel will prepare a shortlist who will then be invited to submit full new Art new Audiences application forms. Partnership will need to be secured by this stage. Successful projects should run within a twelve month period between October 2016 and September 2017. Match funding may be available for some projects.

The deadline for expression of interest forms will be 31 July 2016.

Follow this link for further information and guidance:

https://www.britishcouncil.co.ke/programmes/arts/east-africa-arts 

chester

Call for Papers: DRAWING

Friday 18th & Saturday 19th November 2016

University of Chester, Riverside Innovation Centre

This is a call for papers for researchers, artists, practitioners and educators. The following suggestions may help delegates in preparing their papers:

  • Drawing as research/research through drawing
  • Drawing and the senses
  • Drawing and affect
  • Drawing futures
  • The therapeutic power of drawing in education
  • Contemporary approaches to drawing
  • Drawing as an expanded practice
  • Drawing as a socially engaged practice
  • Inclusive/exclusive practices through drawing
  • Generating knowledge through drawing
  • Collaborative practices in drawing
  • Drawing in the context of co-design practices
  • Pedagogies of drawing
  • Interdisciplinary drawing practices
  • Technology as drawing
  • Digital drawing
  • Politics of drawing
  • Aesthetics and the assessment of drawing
  • The body and drawing
  • Drawing as a reflective practice
  • Visualisation and drawing
  • Theorising drawing/drawing and its relationship to theory
  • Drawing and comics/graphic novels
  • Drawing and material culture
  • Exploring the relationship between drawing and space
  • Thinking through drawing

80 – 100 WORD ABSTRACTS TO BE SENT TO [email protected] BY 31st JULY 2016

Fees

For Delegates (Including Speakers )

Early registration by 31st August 2016

£200 (£180 NSEAD members, £100 students and unwaged)

Registration from 1st September 2016

£225 (£200 NSEAD members, £100 students and unwaged)

Fee includes all day Friday and Saturday sessions, refreshments and lunch, but does not include accommodation or evening dinners.

There is no single day rate.

For questions about the conference or to make payment via invoice please contact:

[email protected]

There will be a £15 cancellation fee and no refunds can be given after 31st September 2016. Please note that the conference is non-profit making and all fees are used for conference costs.

Please book via the following link:

http://storefront.chester.ac.uk/index.php?main_page=product_info&cPath=6&products_id=97

kenji

Special Talk : Future and Historical Time of Socio Internationally Related Arts

This event is a Special Talk by Artists , Reserachers and Curators who rerated history about Millbank penitentiary, and engaged international society through the history of remains in Millbank.

Speakers:
Malcolm Quinn (Associate Dean
of CCW/Researcher)
Jane Kennedy (Record Manager of Tate Britain)
Fran Cottell (Senior Lecturer of CCW/Artist)
Eiko Honda (Curator)
Kenji Yamada (Artist)
And Special Guest

Date: 19th July 3 – 5pm

Place of event:
Morpeth Arms / 58 Millbank, London SW1P 4RW

Details:
In the turmoil of today’s world, what kind of a role does art and culture play with regards to the relationship between nations and local history? With various scales of community consciousness, and a situation where communication styles among people are evolving in sync with constant technical innovations, what kind of a commons discussion or consciousness platform do the arts create for international relations?

This time we are inviting artists, researchers and curators who are deeply involved internationally between the U.K. and Asia/Oceania including local history of Millbank, and are planning an overlapping discussion about the “role of international relations and art around Millbank Penitentiary,” and “the change in internationality between the U.K. and Australia since the 19th century, and the role of art/architecture.” Clarifying how international relations have matured in the past 200 years, what kind of a universality is there?, How could a methodology evolve for artists and researcher both inside and outside of the U.K. in their approach to international relations, unfolding through lectures and discussions concerning the future prospects and possibilities?

This event will use the pub ‘Morpeth Arms’ that remains in the basement of a historic 19th century structure near the Chelsea College of Arts, sharing all rooms of the building through an image relay that utilizes the old structure. Based on technical cooperation with Miyu Hayashi(Artist), a recording production and concept making is planned by the artistic director Kenji Yamada(Artist). This talk’s archive will be shown on his solo show from 25th of July.

Cooperation:
Tokyo Wonder Site

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British Academy Sustainable Development Programme

http://www.britac.ac.uk/sustainable-development-programme

The British Academy Sustainable Development Programme, open to UK researchers, will provide grants to interdisciplinary, policy-oriented UK research, aimed at addressing the UN’s 2030 Agenda for Sustainable Development and advancing the UK’s Aid Strategy.

Focusing on the areas of sustainable governance, sustainable growth and sustainable human development, it will:

  • fund grants that deliver research excellence with development impact, aimed at reducing poverty and advancing socio-economic development,
  • strengthen the evidence base on what works in addressing sustainable development goals,
  • provide the evidence and insights needed to enable policymakers to design and implement effective interventions in developing countries.

Value: Up to £360,000

Deadline: 20 July 2016 (!) – this is the deadline for outline applications