Dr Matt Lodder talks about his research and studying Art History at Essex
Showing posts with label research. Show all posts
Showing posts with label research. Show all posts
Thursday, 26 June 2014
Monday, 10 March 2014
Paper: After Word, Thought, Life: A Stroll in Parisian Parks
By Dr. Michaela Giebelhausen
Abstract
This afterword takes the reader on a lyrical psychogeographic drift (dérive) through Paris’ green spaces, from the Buttes-Chaumont of Aragon’s Paris Peasant back through the jardin anglais of the Parc Monceau and the grounds of colonial expositions to the bright red follies of the late twentieth-century Parc de la Villette. The pavilions met with here are like relics, living out their afterlives, triggering memories and imagination, reminding the reader of the changeability of function and meaning that makes it so difficult to pin down such structures.
This paper can be downloaded, for free, here.
The Open Arts Journal
The Open Arts Journal addresses the demand for a rigorously compiled, peer-reviewed platform for arts scholarship open to diverse participants. Our dissemination is global, spanning multiple communities including practitioners of art, architecture and design, curators and arts policy-makers, and researchers in the arts and heritage sectors.
Developing from a broad base of interests the Open Arts Journal emphasises innovation, in both content and medium and by virtue of a bespoke digital design. Our contributors encompass a wide range of scholars, from professionals to provocateurs, with original visual essays and polemics; reflections on art from curators and artists; and the fruits of rigorous theoretical, historical or longitudinal research.
The Open Arts Journal is also a tactical initiative. It confronts the mixed blessings brought to the arts and humanities by current developments in ‘open access’ scholarship. Many of the dominant platforms for academic publishing that are free for their readers operate by drawing fees from their contributors. We feel that such arrangements frustrate if not subvert the opportunities presented by digital distribution of academic scholarship for use ‘on demand’.
With an administrative home in the Department of Art History at The Open University, the Open Arts Journal makes an alternative, distinctive offer. Ours is a robust and imaginative response issuing from within the arts community, with an ethos of ‘openness’ toward those who may benefit from genuine ‘open access’ scholarly activity online.
Abstract
This afterword takes the reader on a lyrical psychogeographic drift (dérive) through Paris’ green spaces, from the Buttes-Chaumont of Aragon’s Paris Peasant back through the jardin anglais of the Parc Monceau and the grounds of colonial expositions to the bright red follies of the late twentieth-century Parc de la Villette. The pavilions met with here are like relics, living out their afterlives, triggering memories and imagination, reminding the reader of the changeability of function and meaning that makes it so difficult to pin down such structures.
This paper can be downloaded, for free, here.
 |
| 17.4 Fragment of the Hôtel de Ville, destroyed in the civil war of 1871. Photograph: Michaela Giebelhausen. |
The Open Arts Journal
The Open Arts Journal addresses the demand for a rigorously compiled, peer-reviewed platform for arts scholarship open to diverse participants. Our dissemination is global, spanning multiple communities including practitioners of art, architecture and design, curators and arts policy-makers, and researchers in the arts and heritage sectors.
Developing from a broad base of interests the Open Arts Journal emphasises innovation, in both content and medium and by virtue of a bespoke digital design. Our contributors encompass a wide range of scholars, from professionals to provocateurs, with original visual essays and polemics; reflections on art from curators and artists; and the fruits of rigorous theoretical, historical or longitudinal research.
The Open Arts Journal is also a tactical initiative. It confronts the mixed blessings brought to the arts and humanities by current developments in ‘open access’ scholarship. Many of the dominant platforms for academic publishing that are free for their readers operate by drawing fees from their contributors. We feel that such arrangements frustrate if not subvert the opportunities presented by digital distribution of academic scholarship for use ‘on demand’.
With an administrative home in the Department of Art History at The Open University, the Open Arts Journal makes an alternative, distinctive offer. Ours is a robust and imaginative response issuing from within the arts community, with an ethos of ‘openness’ toward those who may benefit from genuine ‘open access’ scholarly activity online.
Wednesday, 5 March 2014
Upcoming Conference: Artistic Practice and the Medical Museum
By Dr Natasha Ruiz-Gómez
The call for papers deadline has been and gone, and now we're sorting through all the abstracts. There is some great research out there...
For hundreds of years, medical collections have been sites of medical and artistic exchange. Not only were many of their contents created by artists and physicians, but the collections were also often compiled by doctors, who were themselves artistes-manqués. Although medical museums have recently received attention in museological and historical studies, they remain relatively ignored within art historical scholarship.
This one-day conference will look at the anatomical, pathological or medical museum from the perspectives of art history and visual culture. Artists have utilised these spaces for the study of anatomy and pathology–as well as for ideas and inspiration–but what do we know about the artists, photographers and craftsmen and women who have worked within the museum? How can we theorise the collecting practices of the doctors who founded and/or ran these museums? What role did these spaces and their contents have on artistic practice, visual representation and the writing of art and medical histories? How does the medical museum continue to play a role in contemporary art-making and medical learning? From the wax modelers to the commissioning physicians to the painters and sculptors who were inspired by its contents, this conference will spark a dialogue about the artistry of the medical museum.
This conference will take place on 6 June 2014 in the MacRae Gallery of the Hunterian Museum of the Royal College of Surgeons, London.
We anticipate publishing a selection of papers from the conference in an edited anthology.
For further information, visit our web page
This conference is associated with the ‘The Sculpture of the Échorché’ conference at the Henry Moore Institute in Leeds on 7 June 2014.
The call for papers deadline has been and gone, and now we're sorting through all the abstracts. There is some great research out there...
For hundreds of years, medical collections have been sites of medical and artistic exchange. Not only were many of their contents created by artists and physicians, but the collections were also often compiled by doctors, who were themselves artistes-manqués. Although medical museums have recently received attention in museological and historical studies, they remain relatively ignored within art historical scholarship.
 |
| Lisa Temple-Cox, Experience 8, 2007. Mixed media. |
This one-day conference will look at the anatomical, pathological or medical museum from the perspectives of art history and visual culture. Artists have utilised these spaces for the study of anatomy and pathology–as well as for ideas and inspiration–but what do we know about the artists, photographers and craftsmen and women who have worked within the museum? How can we theorise the collecting practices of the doctors who founded and/or ran these museums? What role did these spaces and their contents have on artistic practice, visual representation and the writing of art and medical histories? How does the medical museum continue to play a role in contemporary art-making and medical learning? From the wax modelers to the commissioning physicians to the painters and sculptors who were inspired by its contents, this conference will spark a dialogue about the artistry of the medical museum.
This conference will take place on 6 June 2014 in the MacRae Gallery of the Hunterian Museum of the Royal College of Surgeons, London.
We anticipate publishing a selection of papers from the conference in an edited anthology.
For further information, visit our web page
This conference is associated with the ‘The Sculpture of the Échorché’ conference at the Henry Moore Institute in Leeds on 7 June 2014.
Monday, 3 March 2014
Operation Spanner: Sadomasochism, Law and Culture
By Dr. Matt Lodder
In 1987, a group of homosexual men were arrested and charged with 'unlawful and malicious wounding' and 'assault occasioning actual bodily harm' for having participated in an entirely consensual group orgy involving sadomasochistic sex acts. The judge in the initial case, now known as R vs Brown, ruled that consent was no defence to the charges levelled, and all the men charged were convicted.
The case was appealed by three of the men, Colin Laskey, Roland Jaggard and Anthony Brown to both the House of Lords and the European Court of Human Rights, but at every stage, the convictions were upheld, despite persistent criticism by legal scholars and human rights activists. The case, whose ruling still technically remains in force despite the obvious lack of interest contemporary police show in enforcing it, had profound impacts on several spheres of cultural life in Britain both within and beyond the initial impacted communities.
This talk, almost thirty years on from the initial arrests and twenty years on from the ECHR ruling, presents and discusses some of these impacts, particularly in the cultural sphere.
In 1987, a group of homosexual men were arrested and charged with 'unlawful and malicious wounding' and 'assault occasioning actual bodily harm' for having participated in an entirely consensual group orgy involving sadomasochistic sex acts. The judge in the initial case, now known as R vs Brown, ruled that consent was no defence to the charges levelled, and all the men charged were convicted.
The case was appealed by three of the men, Colin Laskey, Roland Jaggard and Anthony Brown to both the House of Lords and the European Court of Human Rights, but at every stage, the convictions were upheld, despite persistent criticism by legal scholars and human rights activists. The case, whose ruling still technically remains in force despite the obvious lack of interest contemporary police show in enforcing it, had profound impacts on several spheres of cultural life in Britain both within and beyond the initial impacted communities.
This talk, almost thirty years on from the initial arrests and twenty years on from the ECHR ruling, presents and discusses some of these impacts, particularly in the cultural sphere.
"Dominic Johnson's work on Ron Athey and Franko B, 'Intimacy and Live Art', from which Dr Lodder quotes at length, can be found in Histories and Practices of Live Art, ed. by Deirdre Heddon and Jennie Klein (Basingstoke and New York: Palgrave Macmillan, 2012).
For more on the case, see The Spanner Trust website at spannertrust.org/. Apologies to both Roland Jaggard and Tony Brown for the inadvertent transposition of their names at the beginning of the lecture.
For more on the case, see The Spanner Trust website at spannertrust.org/. Apologies to both Roland Jaggard and Tony Brown for the inadvertent transposition of their names at the beginning of the lecture.
Subscribe to:
Posts (Atom)