Tag Archives: Art

Grant: Cambridge/Africa Collaborative Research Programme 2012-13

Cambridge/Africa Collaborative Research Programme 2012-13


The Centre of African Studies invites applications for the Collaborative
Research Programme around the theme of Art and Museums in Africa from
candidates in all the disciplines in the humanities and social sciences.
Applications from scholars working in NGOs, research institutes, academia,
libraries, and museums are all welcome.  Applicants from non-English
speaking African countries are also encouraged, provided candidates can
demonstrate a competent grasp of English.  The appointments will take place
from 1 October 2012 ˆ 31 March 2013 and are non-renewable.  Fellows will
be affiliated to a Cambridge college.  Each award is worth up to £10,000;
out of which travel, accommodation, maintenance costs and medical insurance
will be paid by the Centre on behalf of the fellow.

The closing date for applications is 1 October 2011

Art and Museums in Africa

African art has long been globally famous but has also been controversial
both intellectually and politically.  Most obviously, the scramble for
African art engaged in by western museums and art collectors has been
condemned as an appropriation, as has the borrowing of forms and motifs
derived from African arts by European modernist artists.  Within
disciplines such as art history and anthropology, there has been much
argument about appropriate methods and concepts for the study of African
art traditions.  In the epoch of decolonization efforts were made to
establish new museums in African states, relevant to local aspirations and
new national cultures.  Over the same period efforts have been made to
revive customary art practices, and to create new craft industries,
sometimes in the context of post-conflict and AIDS-prevention community
projects.  Over the last 50 years modernist and contemporary arts have also
emerged and have gained increasing international recognition, while
typically lacking secure financial or institutional support within African
states.

This theme aims to support a wide range of interests in historical and
contemporary arts in Africa and in changing practices in local and national
museums and art institutions.

The University follows an equal opportunities policy.

An application package may be downloaded from our website:

www.african.cam.ac.uk <http://www.african.cam.ac.uk/>  or contact the Centre by emailing:
centre@african.cam.ac.uk

This programme is generously supported by the Leverhulme Trust and the
Isaac Newton Trust

Ressources: New project/Guinean arts and archives

Dear community of scholars and professionals working in Guinea,

We are writing to let you know about an initiative we are launching to connect Guinean artists, artworks, and the visual archive.

To learn more see http://www.indiegogo.com/Unite-Guinean-Arts?a=63759&i=addr.

A scholarly essay introducing the concept can be found at www.ahva.ubc.ca/WreckArticlePdfs/8_120208_121212.pdf.

We appreciate your work, and are very grateful for any and all participation, including suggestions of others who might be interested, leads on film footage, etc.  Spreading the word to the larger Guinea community is also an enormous help.

Thank you very much for your consideration.

Sincerely,

Joshua Cohen
PhD Candidate, Art History
Columbia University
jic2111@columbia.edu

Adrienne Cohen
PhD Student, Anthropology
Yale University

Workshop : FORMES SPECTACULAIRES TRADITIONNELLES ET PROCESSUS DE PATRIMONIALISATION

Université de Rennes 2

Le département des arts du spectacle organise en collaboration avec le CFMI (Centre de formation des musiciens intervenant à l’école) et le service des relations internationales, des journées d’études les 25 et 26 mars 2010, sur le thème “Formes spectaculaires traditionnelles et processus de patrimonialisation”.

Accès libre dans la limite des places disponibles.

http://www.univ-rennes2.fr/arts-spectacle/actualites/journees-etudes-formes-spectaculaires-traditionnelles-processus-patrimonia

CFP The Restoration of Artworks in Europe from 1789 to 1815: Practices, Transfers, Stakes

International workshop

October 2nd 2010

Designed and organised by Noémie Etienne, assistant in Art History, University of Geneva

The Restoration of Artworks in Europe from 1789 to 1815: Practices, Transfers, Stakes

The period stretching from 1789 to 1815 was characterised in Europe by an intense circulation of artworks. The suppression of religious orders, plundering and the French government’s politics favoured the dissemination of objects, whether they were dispersed through private sales, or annexed and regrouped in Paris. In this context, the restoration of artworks gained major importance, and became a common preoccupation at the European level.

This interest was noticeable in the new directives which aimed to favour the conservation of artworks, in the growing institutionalisation of restoration in museum structures, as well as the technical experiments carried out during this period. This increase in power for restoration in the public sphere favoured the emergence of much debate, sometimes on an international scale. Likewise, the actions carried out in France on displaced artworks drew the attention of various European observers.

With this precise context in mind, this study day aims to make a progress report of the different questions pertaining to the period. What was the state and evolution of the principles and practices of European restoration between 1789 and 1815? What were the new institutional, technical or deontological constraints in this context? How was the status of the practitioner transformed? How did French cultural politics influence the practice? And what were the implicit stakes linked to all of this?

Of a truly European scope, this workshop would like to being together different views of this pivotal period. All types of artworks may be studied. Art history, history, history of science and technology, and also sociology or anthropology are all fertile disciplines capable of addressing this topic. Conservator-restorers are also strongly encouraged to participate and submit a paper. Interdisciplinary, analytical and comparative approaches will be favoured. In particular, several lines of inquiry – mentioned non-exhaustively here – could be developed.

1. Institutional and political context

The restoration and conservation of artworks between 1789 and 1815 is part of a specific institutional and political context, it is notably linked to the development of Europe’s first museums. How was this practice developed? What were the technical and deontological gains typical of this period in different European countries? How did these ateliers function? And what place did the restorer occupy within this new structure? The redefinition of the activity and status of practitioners may be an object of study. The ties between the institution and the market could also be addressed.

Additionally, the appropriation of artworks by France created an atmosphere of tension in which the practice of restoration took on an unheard-of political charge. Artworks taken from all over Europe were thus restored and displayed with great pomp and circumstance in Paris. What were the criteria that governed the taking of these objects? What role did their restoration play in the practice of annexation? What are the devices and discourses tied to the moving, conservation and restoration of displaced artworks?

2. Cultural transfers

The second axis will address the exchanges made between the different countries. The period favoured the displacement of artworks and practitioners, thus allowing one to study the transfers of skills and techniques. How did the methods used evolve through the contact of the different restorers? What were the tools or materials linked to this practice, and were they diversified during this period, notably through the influence of the migrations of men and objects?

The question of the transfer of knowledge could also be addressed. The publication and distribution of books or articles spreading the technical know-how for these procedures represented an important factor of the evolution of this practice. On the other hand, the question of secrecy took on particular contrast. In the history of a public sphere of knowledge, the distribution of the report on the transposition of the Madone de Foligno in Paris in 1802 is a milestone, whose stakes and consequences throughout Europe one may choose to observe.

3. Reception and heritage

How were the restorations realised between 1789 and 1815 perceived? What were the controversies surrounding them, and what did they reveal? Many onlookers voiced opinions criticising the operations carried out in the religious and private spheres. In the public sphere in Europe, restorations provoked much debate around the conservation of artworks regrouped in Paris. Thus articles were published by the press to alert public opinion of artworks restored in a manner considered improper and unfair. How is one to understand and analyse these positions? What were their motives and what were the arguments? What do they bear witness to?

Starting in 1815, when the displaced works returned to their countries of origin, frequent reservations were made about the restorations done in France. How and by whom were those interventions judged? How was one to understand the criticisms of their former owners? Finally, we shall examine the portion of the French model of art restoration that was exported, as well as the new European prerogatives. For this question, one may of course go beyond the year 1815.

Paper proposal terms:

Scientific committee:

Frédéric Elsig, Assistant Professor of Art History at the University of Geneva

    Léonie Hénaut, Doctor in Sociology, Research attaché at the Centre de sociologie de l’innovation (Mines Paris-Tech, CNRS)
    Victor Lopes, Conservator-restorer of paintings at the Musées d’art et d’histoire de Genève

Mauro Natale, Honorary Professor of Art History at the University of Geneva

Calendar:

Proposal submission deadline: May 1st 2010

Reply to authors: June 1st 2010

Workshop: October 2nd 2010

Place: University of Geneva

Colloque “Des temps qui se regardent” – INHA Paris – 5-6 octobre 2009

DES TEMPS QUI SE REGARDENT
DIALOGUE ENTRE L’ART CONTEMPORAIN ET L’ARCHÉOLOGIE
Lundi 5 et mardi 6 octobre 2009, Auditorium de l’Institut National d’Histoire de l’Art, Paris.

Programme détaillé Art et Archéologie – INHA – 5-6 octobre 2009

Pour se rendre à l’auditorium de l’INHA : 6, rue des Petits Champs ou 2, rue Vivienne. Paris 2e.
Métro : Bourse / Pyramides / Palais royal.
Contacts : audrey.norcia@malix.univ-paris1.fr – mjasmin@magic.fr

Le programme des journées du Cémaf Création artistique et constructions identitaires ou patrimoniales en Afrique et dans ses diasporas

Voici le programme définitif des deux journées du Cémaf à Paris le 1er et 2 octobre prochains que nous avions déjà signalé sur le blog.

Programme Journees 2009

Création artistique et constructions identitaires ou patrimoniales en Afrique et dans ses diasporas

Journées d’étude jeudi 1er et vendredi 2 octobre 2009

CNRS, 27 rue Paul Bert, à Ivry-sur-Seine (métro Porte de Choisy).
Organisées par Eric Jolly, Dominique Juhé-Beaulaton et Estelle Sohier

Présentation

Nous envisageons d’étudier les liens entre création artistique, patrimonialisation et constructions ou revendications identitaires, en Afrique et dans ses diasporas. À titre d’hypothèse ou de piste de recherche, nous avançons notamment l’idée suivante : la construction d’une identité ou d’un patrimoine culturel s’accompagne toujours, en amont ou en aval, d’une production ou d’une manipulation de symboles par le biais de créations offertes au regard et à l’appréciation des autres. La circulation de ces symboles entre l’Afrique et ses diasporas, ou encore entre l’Afrique et l’Occident, contribue, pour des raisons historiques et dans un contexte de mondialisation des échanges et des représentations, à ces constructions ou manipulations identitaires. Ce thème peut très bien s’articuler avec l’étude dans d’autres contextes des influences réciproques entre créations locales, tourisme international, politiques patrimoniales ou muséales et revendications identitaires.

Pour conduire cette réflexion, il est donc nécessaire de prendre en compte les effets de la globalisation en examinant le rapport entre, d’un côté, les processus de création dans leurs dimensions identitaires ou patrimoniales et, de l’autre, les nouvelles formes d’échange interculturelles, la marchandisation croissante de l’art, les politiques nationales et internationales de valorisation ou de protection du patrimoine, les manifestations artistiques panafricaines, l’essor du tourisme, l’apparition de nouveaux modes de communication… Les études de cas mobiliseront ou croiseront des disciplines différentes (histoire, anthropologie, histoire de l’art, sciences politiques…), concerneront des domaines artistiques très divers (littérature écrite ou orale, poésie, musique, danse, peinture, photographie, architecture, etc.) et interrogeront des expériences aussi bien individuelles que collectives. En envisageant différentes échelles (locale, nationale, continentale et internationale), elles s’attacheront à identifier les réseaux ou les chaînes d’acteurs, à reconstituer l’histoire des artistes et des objets ou encore l’évolution de leur statut, et à analyser les contextes de création dans des champs très variés (politique, économique, religieux, culturel…).

Lien vers le site du laboratoire :