Showing posts with label University of Essex. Show all posts
Showing posts with label University of Essex. Show all posts
Tuesday, 21 October 2014
Questioning Images: Polaroids
Tuesday, 5 August 2014
50th Anniversary Homecoming Weekend
We're looking forward to welcoming back our alumni and former members of staff on the 13th of September, 2014, for our Departmental Lunch!
On the 12-14 of September, the University of Essex will be hosting out 50th Anniversary Homecoming Weekend.
Art History at Essex is delighted to invite all of our former staff and students along to a FREE departmental lunch from 12:30pm - 2:30pm on Saturday 13th of September.
This will be a relaxed affair and will give you the opportunity to catch up with former colleagues, especially those you haven't seen for years - or maybe even decades!
Head to the website for more information, and to book your FREE place (booking is essential!).
On the 12-14 of September, the University of Essex will be hosting out 50th Anniversary Homecoming Weekend.
Art History at Essex is delighted to invite all of our former staff and students along to a FREE departmental lunch from 12:30pm - 2:30pm on Saturday 13th of September.
This will be a relaxed affair and will give you the opportunity to catch up with former colleagues, especially those you haven't seen for years - or maybe even decades!
Head to the website for more information, and to book your FREE place (booking is essential!).
Wednesday, 23 July 2014
Lecture Notes: Valerie Fraser on Stubbs/Perez
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| Amador Perez, Drawing 1 |
It’s always good to have more than one pair of eyes focusing on a work of art. The other day after lecturing on 18th century landscape painting I arranged for us to look at a couple of drawings from our collection of Latin American art based on a painting by George Stubbs of 1786. The original, now in Tate Britain, shows a very successful team – jockey John Larkin on the racehorse Otho – both very stiff and proud against a stormy sky.
200 years later, in 1986, Brazilian Amador Perez reworked aspects the picture on a very small scale - we were taking it in turns to get a really close squint - and guess what? Sharp-eyed students spotted things in one of the drawings that I'd never noticed: a white horse with no rider and just a suggestion of wings, and a horse and rider conflated into a sort of blurry centaur who instead of a riding crop holds a bow and arrow. Wonderful! Perez is extending ideas of the speed, power and man-horse teamwork involved in horse racing into the realms of mythology – of Pegasus the winged horse, and Sagittarius, the bow-and-arrow carrying centaur.
So thank you, students, for helping me see Perez more clearly, and thanks too to Perez for helping me to see Stubbs in a new light. Very satisfying.
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| George Stubbs, Otho with John Larkin up |
Thursday, 26 June 2014
Art History: Research and Study
Dr Matt Lodder talks about his research and studying Art History at Essex
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.
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