Matter and Materiality in Art and Aesthetics: From Time to Deep-Time (original) (raw)
Related papers
2018
Deadline for submissions: January 15th, 2019. Notification of acceptance: February 28th, 2019. Please provide a title, an abstract of 350 - 450 words in length, a short biographical note of no more than 100 words, a CV, your institutional affiliation (if any), reference letters from supervisors, a list of publications, etc. Please submit your proposal uploading all documents as one PDF file at the following link: http://www.ciha-italia.it/florence2019/2018/04/07/upload-your-paper/ More info: http://www.ciha-italia.it/florence2019/ciha-florence-2019/
ART AS MATERIAL CULTURE (session 706) 24th EAA Meeting (Barcelona 5th-8th September)
CONVOCATORIA PARA PARTICIPAR EN LA SESIÓN "ART AS MATERIAL CULTURE" (session 706) (in English below) Nos es grato invitarle a nuestra sesión Art as Material Culture que tendrá lugar en el marco del 24 Congreso de la Asociación Europea de Arqueólogos (24th Annual Meeting of European Association of Archaelogists 2018) que se celebrará en Barcelona entre el 5 y el 8 de setiembre de 2018. Sería para nosotras muy importante poder contar con su experiencia y colaboración. Para cualquier duda o aclaración estamos a su disposición. Si está interesado en participar en esta sesión, es necesario que registre su propuesta en la siguiente página antes del 15 de febrero: http://tracking.funio.com/c/443/14d0bcb7e2e538babb23d7debfe67f9d2598bada526ba83b24101185de8fe73f
Matter and Meaning- Materiality and the Visual Arts Archive Programme.pdf
A symposium organised by the Committee for Art and Design Archives, part of ARLIS/UK & Ireland (Art Libraries Society) in collaboration with the University of Brighton Design Archives. On the one hand… material is discussed today in the light of an idea that it has been dissolved by the so-called immaterialities of new technologies, while on the other – from the margins – we can observe the consolidation of material as a category of its own. (Monika Wagner) Within the expanding digital environment that encompasses our professional and personal experience, ideas of materiality have received extensive recent attention, across a range of disciplines, including anthropology, archaeology, art history, literary studies and material culture. As yet, archival theory and practice have given limited consideration to materiality as an approach to the archive. Conservation practices, while focussing on material qualities of archives, may not attend to more philosophical implications beyond technical research. This symposium seeks to reach across and between these various bodies of knowledge, considering materiality as a framework for analysing, interpreting and engaging with archives of art and design. To book a place, go to http://arlis.net/events, and scroll down to 'Matter and Meaning'.
This paper explores an agential, desiring and playful conception of matter, as ways of enticing affective responses from the sciences toward matter, specifically in regard to matter might be “up to.” Examining recent works in the fields of feminist materialism, cultural anthropology and the sciences and technologies studies, this piece argues that matter is at the core a mode of artistry, an active agential component that partakes in generating continuously in dis/continuity new worldly configurations. This reading of matter suggests a new to rethink and reframe the practices of sciences, whereby representationalist endeavors do not simply fail as they themselves partakes to the ongoing processes of materialization that is all matter in ways that may be ethical fraught upon, notably for the lack of accountability and responsibility that all too often fail to accompany such practices. This new conception of matter also suggests that the separations between play and rigor, between the arts and the sciences, between yearning for sensation and prospects of generating fixed images, are untenable. As an effect, this means that once that affects are always already the matter of the sciences, but also that equally, yet differently, the sciences and the arts are ontology-making projects that are bound ontologically to an ethics. Equipped with this new conception of matter, this piece explores ways of thinking and doing sciences and arts in ways that are at once more affectively connected and response-able.
Michelangelo's 'Last Judgment' (1536-1540) was intentionally made on an inclined wall: an unusual, laborious preparation which modern art history has discussed almost exclusively in terms of the perspectival perception of the beholder. Taking as a point of departure Vasari's reasoning that the wall is actually leaning forward "in order that no dust (polvere) might be able to settle upon it," this paper contextualizes the question of such small dust particles in relation to a discourse on the visibility, preservation and durability of artworks in the early modern period. It suggests that the fastidious preparation for the fresco in the Sistine Chapel is in fact very much indebted to the artist's struggle to master the technique of mural painting. Scholars have long noted Michelangelo's technical difficulties during his work on the ceiling decoration (1508-1512), which led to immediate damage and to a change in painterly technique in the course of execution. A second report by Vasari ‒ dealing with Sebastiano del Piombo's proposal to change the technique for painting the 'Last Judgment' ‒ is confirmed by technical analyses and is intrinsically linked to the discussion of durability. This paper suggests that Vasari's special mention of dust is, on the one hand, related to actual concerns about the effect of solid aerosols on artworks, a conservation problem resolved in the Cinquecento in various ways: in the case of the Sistine Chapel and other liturgical spaces, the office of a cleaner or de-duster of the mural paintings was created. On the other hand, Vasari's phrasing is indebted to frequent considerations that material objects necessarily "turn into dust" just like any other form of life. These issues, therefore, not only evoke ideas about the "life" and "death" of artworks. They also raise the question of how to gain immortality or an afterlife, a theme epitomized in the subject of Michelangelo's fresco in the Sistine Chapel: as happens with people, art can withstand oblivion independently from its material condition, and thus overcome the inevitable destruction by dust and time.
ITALIAN ART SOCIETY NEWSLETTER XXXIV, 1: Winter 2023
Dear Members of the Italian Art Society, I hope you are all having a happy and healthy start to the new year. Thanks to all of you who have already renewed your membership for 2023. We're thrilled so see so many of you using the Sospeso membership option and adding a donation to your membership to fund IAS memberships for others in our community. Your support for our increasing commitment to equity and inclusivity within our organization is greatly appreciated. If you haven't yet had a chance to renew your membership at IAS for 2023, I remind you to please do so! Our annual election for new committee members, chairs and board positions has just concluded. I want to deeply thank those of you who have nominated yourselves and volunteered your time and energy to our organization. I'd also like to thank our outgoing Nominating Committee Chair, Sarah Cantor, and the entire Nominating Committee for their work in fielding another exceptional slate of candidates. [...]