ART OUT OF TIME: CONFERENCE REGISTRATION AND PROGRAM

Elizabeth Price, The Woolworth Choir of 1929, two stills (HD Video, 18 minutes, 2012)

Elizabeth Price, The Woolworth Choir of 1929, two stills (HD Video, 18 minutes, 2012)

Places are now available for our upcoming conference, Art Out of Time. If you would like to attend this event, please sign up by emailing visualresearch@torch.ox.ac.uk Places are limited, and will be allocated on a first-come first-served basis.


Art Out Of Time: Challenging Periodization

Symposium | June 26 and 27, 2014 | University of Oxford

PROGRAM

DAY 1 | Thursday June 26 | TORCH, 3rd Floor Radcliffe Observatory Quarter, Woodstock Road

4:30- 6:30 Session 1 | Art Out Of Time | Chair: Hanneke Grootenboer (History of Art)

Are Paintings Maybe Suitcases Suitable For Time Travel?, Amy Powell (UC Irvine)

The First ‘Date Painting’: On Kawara at Altamira, Whitney Davis (UC Berkeley and University of York)

Respondents: Ian Kiaer (Royal College of Art) and Christopher Heuer (Princeton)

 

6:45-7:30 Reception| Modern Art Oxford | Preview of Barbara Kruger’s Installation

 

DAY 2 | Friday June 27 | Ertegun House, St Giles

9:30-11:00 | Session 2 | The Museum’s New Object | Chair: Paul Hobson (Modern Art Oxford)

Elizabeth Price (Ruskin) presents her new collaborative project—that explores the archives and collections of the Ashmolean and Pitt Rivers Museums—in conversation with Paul Hobson, Chris Morton (Pitt Rivers Museum) and Senta German (Ashmolean Museum)

 

11:00-11:30 | Coffee

 

11:30-1:00 Session 3 | The Object In and Out of Time | Chair: Catherine Whistler (Ashmolean)

Tamar Garb (UCL), Alexander Sturgis (Holburne Museum Bath), Bettina von Zwehl (London-based artist), Karen Lang (University of Warwick), Christopher Heuer (Princeton)

 

1:00-2:00 | Lunch (provided)

 

2:00-3:30 Workshops | Ertegun House St Giles, Oxford (see separate program)

1 Making/Unmaking, chair: Anna Murphy; 2 Re-Thinking Historical Time, chair: Elisa Schaar

3 Alternative Temporalities, chair: Ros Holmes; 4 Neo-Installation, chair: Hilary Floe

 

3:30-4:00 | Tea break

 

4:00-5:00 Session 4 |The Past is the Present (and the Future) | Chair: Anthony Gardner (Ruskin)

Historical Time in Contemporary Art: Longue Durée Revisited, Christine Ross (McGill)

Respondent: Amelia Barikin (University of Queensland)

 

5:00-6:00 | Reception Ertegun House

 


 

Workshop Program| June 27, 2014, 2-4| Ertegun House

 

Workshop 1 | Making/Unmaking | Chair: Anna Murphy (History of Art, Oxford)

What happens when contemporary artists use, or abuse, art objects from the past? This workshop seeks to explore these coagulations of ‘past’ and ‘present’ by considering various examples of this practice, ranging from reinvigorating acts of curatorship, such as Grayson Perry’s major exhibition The Tomb of the Unknown Craftsman at the British Museum, to the Chapman Brothers’ destructive repainting of Goya’s etchings.

 

Collection, Curation, Collusion: An Essay in Objects at the Museum of the History of Science, Charles Ogilvie and Vid Simoniti (Oxford University)

 

Negotiating the Icebox: Cold Collections, Dark Museums and Contemporary Art, Chris Dorsett (Northumbria University)

 

Transit of Venus, Colonial Collections and Human Remains, Zanny Begg (University of New South Wales)

 

Art on a Pedestal: Contemporary Artists in the Old Master Museum, Kirsten Tambling (Courtauld Institute of Art)

 

 

Workshop 2 | Re-Thinking Historical Time | Chair: Elisa Schaar (Ruskin)

This workshop explores challenges posed to modernist historicism by concepts of time and history, such as anachronisms, longue durees and other non-linear models from philosophy, physical science and (fantasy-)fiction. It invites theoretical investigations from various disciplinary perspectives as well as presentations that fold time between different periods. The session particularly considers the ways in which art objects themselves can contribute to theoretical thinking about time and history.

 

Index, Fold, Building Cut: Gordon Matta-Clark and the Postminimal Baroque, Hugh Govan (University of Essex)

 

Stratigraphic Time: El Greco-Soutine-Deleuze, Kamini Vellodi (Kingston University, London)

 

Virtual Correspondence: Remembering Look Across History, Filip Lipinski (Adam Mickiewicz University, Poznan)

 

After the Internet: Contemporary Art and the Spectre of Utopia, Bill Balaskas (Royal College of Art, London)

 

Art History, Science Fantasy, Jason David LaFountain (School of the Art Institute of Chicago)

 

 

 

Workshop 3 | Alternative Temporalities | Chair: Ros Holmes (History of Art, Oxford)

How do non-western conceptions of time complicate and problematise classical periodisation and the modernist narratives which underpin them? This workshop invites researchers from a variety of disciplines to consider a range of art historical objects from diverse geographical perspectives. From non-linear understandings of time in Aboriginal culture to Zen (Chan) Buddhism’s integration of time and space, it asks how much our understanding of time is culturally appropriated and how a wider consideration of these ‘alternative temporalities’ can in turn reframe geographical and historical boundaries.

 

 ‘Le dur désir de dure’: Temporalities of Contemporary Islamic Art, Monia Abdallah (Université du Québec à Montréal)

 

The Ise Shrine and Cyclical Time, Jeff Hammond (Courtauld Institute of Art, London)

 

Remembering Forward, Sarah Wall (The University of Melbourne)

 

Binaries of Temporality: Contemporary Asian Art in Pre-Modern Contexts, Dina Bangdel (Virginia Commonwealth University Qatar)

 

 

Workshop 4 |Neo-Installation | Chair: Hilary Floe (Ruskin/Modern Art Oxford)

This workshop considers anachronism’s relationship to displays of art. To what ends have artists and curators introduced strategies of untimeliness to museological frameworks? Can these interventions be assimilated to familiar narratives of institutional critique, or do they suggest alternative paradigms?

 

‘Deconstructing’ and ‘reconstructing’ historical heritage within contemporary art projects, Dora Precup (University of Neuchâtel)

 

The Making of an Artist of All Times and Places: Bertel Thorvaldsen and His Museum in Copenhagen, Tabea Schindler (University of Bern)

 

The future of the past and re-defining history at the post-war National Gallery in London (1945-1961), Ana Baeza-Ruiz (University of Leeds/ National Gallery)

 

Buried Pasts and Aborted Futures: Re-Thinking Historical Time through the Artworks of Marcel Broodthaers, Michal B. Ron (Freie Universität, Berlin)

 

Collecting and Market Values: Relating Historical Remnants to Nedko Solakov’s “Leftovers” in an Exhibition of 2005, Linda Schädler (ETH Zurich)


 

This symposium is organized by the Institute for Visual Research and made possible with support from the TORCH Research Centre in the Humanities and the Fell Fund. Contact: oxfordvisualresearch.org | visualresearch@torch.ox.ac.uk