Taste After Bourdieu is a two day conference exploring the relationship between aesthetic judgment and social distinction in the practice of taste. Organised by CCW Graduate School, it was initiated and developed by a group of five academics at CCW and a graduate student group. The panels are led by Dave Beech, who is the chair of the panel on ‘Taste and the Gallery’, Michael Lehnert, who is chair of the panel on ‘Taste and the Museum’, Stephen Wilson, chair of the panel on ‘Taste and the Street’ and Carol Tulloch, chair of the panel on ‘Taste and the Home’. The graduate student group members are Chrissa Amuah, Caroline Derveaux-Berte, Jaime Greenly, Jessica Hart, Katasi Kironde, Mohammed Namazi, Alex Roberts and Kioka Williams, who have devised an installation project for the conference. We are delighted to be hosting a truly international event with an introductory panel, four panels of speakers and two keynote speakers who include arts practitioners, sociologists, philosophers, museum directors, curators, design historians and art historians from Asia, North America, Australia and Europe. Each of the four panels has formulated some key questions that address the condition of taste after Bourdieu:
Taste and the Gallery:
- How is taste related to aesthetics and art?
- What is a viewer of art and how do individuals inhabit this role?
- What is the relationship between changing regimes of taste and revolutionary social transformation or resistant subcultures?
Taste and the Museum:
- To what extent is discussing taste a relevant exercise for museums, in light of dispersed social practices, disaggregating cultural capital, current accessibility of aesthetic experiences and the diffusion of social emulation to achieve distinction?
- When developing and executing a distinct institutional narrative or curatorial objective, what role and relevance is and can be given to the visitor, as individuals and cultural groups?
- What influence on bildung, and leverage over gemeinschaft and gesellschaft do museums have today, to set cultural precedents, influence public discourses, and make societal impacts?
Taste and the Street:
- How is the contemporary male gaze in Japan applied and reconfigured as a judgement of taste?
- How are Bourdieu’s notions of taste subsumed by models of transnational awareness?
- What happens to our understanding of taste in transnational Asian art practices that travel away from ‘home’ and return to a nation based, heritage driven context?
Taste and the Home:
- While Bourdieu rightly points out that there are hierarchies of taste, do we live those hierarchies in our day-to-day sensorial existence?
- What happens with the move of everyday object from one context to another, thereby pushing the boundaries of public and private and the devolution of taste and taste-making through the body?
- How do we understand the incorporation of strategic and tactical code-switching of the presentation of self by individuals and cultural groups between one geographical space and another?
For more information and registration visit the conference website.
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Art and Queer Culture is a panel discussion that will attempt to highlight such concerns as part of an ongoing movement against queer invisibility, unnecessary silences, cultural forms of oppression, censorship and state controlled funding that does not support the arts. CCW Graduate School is hosting this discussion between Richard Meyer, Editor of Art and Queer Culture, and Irene Revell, Director of Electra, and it will be chaired by Dr Stephen Wilson, University of the Arts London, in the Lecture Theatre at Chelsea College of Art, Thursday 20 March at 5:30pm.
Inside a section of the recently published Art and Queer Culture entitled, ‘Document G – Queer Worlds (1995-present)’, the editors state that ‘queer’ has been reclaimed by gay men, lesbians, bisexuals, transgender people and other sexual minorities as a deviant means to self-description. To call oneself ‘queer’ is to confront but also to defy the violent uses to which that word has been put in the past, ‘queer’ suggests a thoroughgoing critique of gay and lesbian normalisation and of the ‘positive’ images of homosexual dignity, patriotism and community that accompany it.
How are these attitudes reflected back into the art institution? Is there a point in recent history when art institutions, public spaces and national museums have confidently reclaimed queer history? There are collected artworks from around the world that demonstrate an exciting past full of examples of gay and lesbian pride hung on institutional walls. What is great to witness and look at can also be spoken about.
Further information about the panel discussion and booking can be found here.
From our current ‘after the future’ position, where utopias have been crushed under the awareness that ‘the myth of the future is rooted in modern capitalism’ (Bifo), our imagination persistently draws on an extensive repository of symbols, forms and technologies rooted in history, imagination and memory. Yet, utopian visions of the future loomed large in the modern age, often fuelled by spectacular advancements in technology, applied arts and industries. Even though sequential temporalities and cyclical views of the past have become forcefully questioned by new technologies, the past is still a reservoir, repository and treasure-trove of cultural and symbolic signification which continues to be revisited and reconstructed imaginatively by individuals and communities. The further into the future you look, the further back in time you seem to get… The conference will address questions such as: is memory scrambled, reversed, reconstituted? Is the future a thing of the past? Is ‘no future’ the new future? How do ancient myths and narratives construct future scenarios? How are myths and histories re-worked in contemporary artistic practises of the future present?
Memories of the Future will take place on 2-3 May 2014 at Chelsea College of Arts (UAL) & Institute of Modern Languages Research (IMLR), School of Advanced Study, University of London. Keynote addresses will be by Professor Alberto Abruzzesse and Dr Malcolm Quinn.
The full programme will be unveiled next week (week of 3 March 2014) on the CCW website. For more information email email@example.com.
Book a place here.