We are very pleased to announce the fourth of the RAI’s recent major conferences. As before, it will be jointly organised by the RAI and the BM’s Department for Africa, Oceania and the Americas, and held in the Clore Centre of the British Museum. We are also very pleased to be joined by the Department of Anthropology at the School of Oriental and African Studies, where a portion of the break-out rooms for the conference panels will be located in the newly refurbished Paul Webley Wing of Senate House.

Informal enquiries may be made to admin@therai.org.uk

Call for panels opens on 21 April 2017 and closes on 30 June 2017

Call for papers opens on 29 August 2017 and closes on 8 January 2018

Registration opens on 22 February 2018

​Conference Fee: Non-Fellow: £190 | RAI Member: £170 | RAI Fellow: £95 | Concessions: £80 | RAI Student Fellow: £60

Panel of Convenors
Emma Martin (University of Manchester), Trine Brox (University of Copenhagen), Chair Dr Diana Lange (Humboldt University, Berlin), Discussant Miriam Koktvedgaard Zeitzen (University of Copenhagen)

Organized by the Iperion CH French node, the 2nd Iperion CH Doctoral Summer School (FID2S) will provide advanced lectures focused on research activities dedicated to the development of innovative instruments and diagnostic strategies to enhance both scientific investigation and conservation strategies of cultural heritage materials.

The lectures will be an opportunity to share information with international experts in the field of Heritage Science about recent advances regarding analysis performed with new portable techniques, large-scale facilities like neutron and synchrotron facilities or ion accelerators and the development of conservation protocols for museum collections or historical monuments.

The lectures are designed to offer the most in a very concentrated form by providing participants the opportunity to discuss and exchange ideas with scientific researchers and professional staff in the field of cultural heritage. It is also a valuable opportunity to network with participants from other countries and institutions.

For more information, the programme, and the registration form, click: HERE

Sources: IPERION CH | C2RMF

First Circular: Call for Papers

As part of the European network IPERION CH, a two-day conference will be held at The British Museum on 9-10 November 2017.

The aim of the conference is to explore the use of different 3D imaging methods and their wide-ranging applications in cultural heritage. Areas which will be covered include the visualization of objects and areas with optical techniques, X-ray CT scanning, the role of 3D imaging in the restoration of artifacts and low-cost 3D scanning techniques. The conference will also look towards the future of 3D imaging, and the potential of emerging technologies to impact the field of cultural heritage research.

At this stage we invite the submission of titles and abstracts of up to 500 words for presentations for consideration by the organising committee, using the form that can be downloaded from the conference website www.3dimaginginculturalheritage.org. The completed form should be emailed to :
abstracts@3dimaginginculturalheritage.org

The deadline for submission of abstracts is 1st June 2017. Conference places may be limited, so early registration is recommended. Those who express an interest in response to this announcement, or submit an abstract, will be notified when registration opens.

Expressions of Interest

To be added to the mailing list and express your interest in attending the 3D Imaging in Cultural Heritage conference, please email your full contact details to:

info@3dimaginginculturalheritage.org 

Using the subject line ‘Expression of interest'. Alternatively, further details of the conference programme, registration procedure and further practical information will be made available in due course from the website, www.3dimaginginculturalheritage.org.


For more information, please contact info@3dimaginginculturalheritage.org

Source: Integrated Platform for European Research Infrastructure on Cultural Heritage (IPERION CH)

Announcing the 2017 Jane Fortune Conference, organized by The Medici Archive Project:
"A Legacy of Ladies: Women Artists and Patrons at the Late Medici Court
When: Friday, 21 April 2017 10am-5:30pm
Where: The Medici Archive, Palazzo Alberti, via de' Benci, 10 Firenze
Who: open to all and free of charge

The 2017 Jane Fortune Conference examines the deep imprint that women left on the artistic ferment of Baroque Florence, beginning under the regency of Archduchess Maria Maddalena of Austria and continuing through the last years of Electress Palatine. To do so, it will explore the cultural agency of both female patrons at the Medici court and the women artists who flourished there, from the mid seventeenth century to the early eighteenth century.

Only in recent years has attention been given to the complex web of female social patterns at the late Medici court. Vittoria della Rovere has been acknowledged as a key patron, yet her successors and their own patronage patterns have yet to be fully explored. The physical spaces used by noble women and their female households throughout Europe are essential to this study. Here, both heraldry and the displays of art collections helped to demarcate these spaces.

Thanks to their talents, some low-born women were given a degree of access to female courts. Exacting standards of moral conduct were expected of them, mitigating against their social station. Juxtaposing women painters with the irreproachable embroiders and lacemakers and the potentially licentious singers and actresses opens a discussion about the social and behavioral aspects of female creativity in early modern Florence.

10:00 Introductory Remarks

10:15 Adelina Modesti
Keynote Address: "Women Artists at the Medici Court of Grand Duchess Vittoria della Rovere (1622-1694): Painters, Pastellists, Lacemakers, and Embroiderers"

11:15 Ilaria Hoppe
"Uno spazio di potere femminile: Villa del Poggio Imperiale, residenza di Maria Maddalena d’Austria"

11:40 Silvia Benassai
"‘Io ho grande ardire, e non temo niente’: Violante Beatrice di Baviera, mecenate nella Toscana degli ultimi Medici"

12:05 Laura Windisch
"Between Power and Privacy: Anna Maria Luisa de’ Medici’s Patronage at Villa La Quiete"

12:30 Laura Cirri
"Le Granduchesse di Toscana: la loro rappresentazione attraverso l’araldica"

14:45 Lisa Goldenberg Stoppato
"Agnese Dolci: New Attributions"

15:10 Sheila Barker
"Suor Teresa Vitelli’s Natural History Paintings: Women Artists and the Scientific Culture of the Early Enlightenment"

15:35 Julie James
"A Nun Artist at the Medici Court: The Religious Pastel Works of Suor Teresa Vitelli"

16:15 Amy Fredrickson
"Giovanna Fratellini: Motives, Patronage, and Success within the Medici Court System"

16:40 Poiret Masse
"Violante Siries Cerroti at the Medici Court, ca. 1724-1737"

​17:05 Francesca Fantappiè:
"Donne in carriera: attrici, cantanti, musiciste alla corte medicea"

​Moderators: Alessio Assonitis, Elisa Acanfora, Susanna Cecilia Berger, and Catherine Turrill Lupi
Organizers: Sheila Barker, Amy Fredrickson, and Julie James

Sources: Art Hist List Serv | The Medici Archive Project

Liverpool: 19-20 May 2017
To book tickets, go to https://www.eventbrite.com/e/thomas-rickmans-liverpool-tickets-32952770624
Registration deadline: May 12, 2017
http://www.thomasrickman.org/content/?page_id=21

2017 marks the bicentenary of the printing (in Liverpool) of Thomas Rickman’s ground-breaking book An Attempt to Discriminate the Styles of Architecture. This event is being celebrated by exhibitions at Liverpool’s Central Library and the University of Liverpool’s Archives and Special Collections, and with walks and talks. To coincide with these events,  a two-day conference will be held in association with the University of Liverpool’s Eighteenth-Century Worlds Research Centre.

​The aim of the conference is to critically evaluate Rickman’s work and its influence in the context of the town where he lived and worked, where he discovered architecture and underwent the transformation from insurance clerk to professional architect. The conference is centred upon Rickman but seeks to encourage a deeper understanding of Liverpool, and its social and architectural environment during the period of his residence (1808-c.1821). Contemporary Liverpool was the ideal setting for a young man interested in buildings and eager for self-improvement: he arrived soon after the passing of the Abolition of the Slave Trade Act (1807) which transformed Liverpool’s international trade and was an early member of the revived Literary and Philosophical Society (1812) where he honed his skills as a lecturer on architectural topics. He became involved with local building projects, notably the constructionally-innovative churches of local ironmaster John Cragg and built up a network of fellow enthusiasts and potential clients.

PROGRAMME

​Day 1: Friday 19 May 2017

In the morning delegates can take the opportunity to visit the Rickman exhibition in the Special Collections area of the Sydney Jones Library.

12.45: Registration

​13.00-14.00: Keynote – Megan Aldrich: ‘Thomas Rickman (1776-1841): a Nonconformist Life in Architecture’

Session 1: Merchants and Shops in Liverpool c.1800

14.00-14.20: Sheryllynne Haggerty – ‘Liverpool’s Trade and Traders in the Atlantic World’

14.20-14.40: Jon Stobart – ‘Geographies of shopping and leisure in Georgian Liverpool’

14.40-14.50: Questions

14.50-15.05: Break

Session 2: Liverpool – Space, Place and Culture

15.05-15.25: Katy Layton-Jones –  ‘Rickman in Context: the changing landscape of Rickman’s England’

15.25-15.45: Hugh Hollinghurst – ‘Rickman, St Luke’s Church and the John Fosters, Senior and Junior’

​15.45-16.05: David Brazendale/Mark Towsey –  ‘ “To the convenience of men of business as well as men of leisure”: Reading, Community and Library Culture in Eighteenth-Century Britain’

16.05-16.15: Questions

16.15-16.45: Walk to the Liverpool Athenaeum (directions will be provided)

16.45-17.30: Tea and exhibition at the Athenaeum

17.30-18.30: Keynote 2 – Joseph Sharples – ‘Improvement and embellishment united’: The Architectural Scene in Thomas Rickman’s Liverpool

After the paper there will be an opportunity to return to the University to view the Rickman exhibition in Special Collections or to participate in ‘Light Night’ in Liverpool (including a self-guided Rickman walk).

Day 2: Saturday 20 May 2017

9.45: Registration

10.00-11.00: Keynote 3 – Rosemary Sweet: ‘Thomas Rickman – A Modern Antiquary’

11.00-11.15: Coffee

Session 3: Contemporary Writings

11.15-11.35: Peter Lindfield – ‘Gothic Prevision: William Porden’s Architectural Awareness’

11.35-11.55: Stephen Clarke – ‘Hints to some Churchwardens and the Pleasures of Churchwardens’ Gothic’

11.55-12.05: Questions

​Session 4: Rickman’s Readers

12.05-12.25: Alex Buchanan – ‘Attempting to Discriminate: Thomas Rickman’s Readers’

12.25-12.45: Will Ashworth – title t.b.c.

12.45-13.05: Geoff Brandwood – ‘Lancaster to Lyons: Edmund Sharpe, Thomas Rickman and Travellers’ Tales’

13.05-13.15: Questions

13.15-14.00: Lunch

Session 5: Religious Architecture

14.00-14.20: Johanna Roethe – ‘Quaker Meeting Houses and their Architects’

14.20-14.40: Bill Walker – ‘ “Meeting Our Waterloos”. The Lancashire Commissioners’ Churches’

14.40-15.00: Christopher Webster – ‘Northern Church Building c.1810-20: An Important Episode in the Gothic Revival’

15.00-15.10: Questions

15.10-15.25: Tea

Session 6: Rickman’s Architecture

15.25-15.45: Mark Baker – ‘Thomas Rickman in Wales: Gwrych Castle and the creation of a gothick fantasy’

15.45-16.05: Frank Salmon – ‘Following “as nearly as may be”: Rickman’s New Court at St John’s College, Cambridge’

16.05-16.15: Questions

​16.15-17.15: Keynote 4 – Rosemary Hill: ‘Styles and Principles – Rickman, Pugin and the Gothic Revival’

We are also delighted to announce that on Sunday 21 May, delegates can visit Gwrych Castle for a tour of Rickman’s romantic design. This has been facilitated by the Gwrych Trust and the £10 entrance fee will support ongoing restoration work.

Source:H-Net Art Hist List Serv

Since its opening in 1830, Karl Friedrich Schinkel's Altes Museum has been located in Berlin's highly symbolic centre, defined by the royal City Palace, Cathedral and Armory. While the museum's performative architecture responds to its location, the current curatorial concept and display no longer reflect the original museological significance of the building.

Taking Berlin's Altes Museum as a case study, the conference seeks to reconsider the museum's transhistorical political role and ask how the museum might critically respond to contemporary political controversies about the reconstruction of a former royal/imperial City Palace considered to house the non-European Ethnological Museum and Asian Art Museum.

The conference will discuss how museums might translate their museological legacy into the 21st century and retain socio-political relevance in an enforced dialogue with architectural symbols of political as well as corporate power in today's urban spaces.

Programme

​Thursday 11 May 2017
TU Berlin, Institute for Art History, Strasse des 17. Juni 150/152, lecture hall A 151

18:00 Welcome Bénédicte Savoy, TU Berlin

18:15 Museums, Power, Knowledge Tony Bennett, Western Sydney University

19:00 Reception

Friday 12 May 2017 TU Berlin, University main building, Strasse des 17. Juni 135, lecture room H 3005

10:00 Welcome and Introduction
Annette Loeseke and Andrea Meyer

10:15 From Schloss to 'Schloss': Whose museums?
Nikolaus Bernau, Architecture and museum historian, journalist, Berlin

10:45 Personal Development as Political Principle for the Berlin Museums: Museum for All?
Elsa van Wezel, Institut für Museumsforschung, Staatliche Museen zu Berlin

11:15 Museum Architecture and Location: The Legacy of Berlin's Altes Museum
Annette Loeseke, New York University Berlin

​12:00 Lunch break

13:30 Museum Architecture as "Truth Spot"? Materials and Memories
Paul Jones, University of Liverpool

14:00 Design for Creative Lives
Suzanne MacLeod, University of Leicester, School of Museum Studies

14:30 Coffee break

15:00 Exhibiting the Museum. Presenting the History of Berlin's Museum Island
Tom Duncan, Duncan McCauley, Berlin

15:30 Panel-Discussion: Rethinking Museums Politically
Nikolaus Bernau, Tom Duncan, Paul Jones, Suzanne MacLeod, Elsa van Wezel
Moderated by Annette Loeseke and Andrea Meyer

Conference language is English.
Participation is free. No registration required.

Convenors:
Dr Annette Loeseke, New York University Berlin
Dr Andrea Meyer, Technische Universität Berlin
​Facebook

 Sources: H-Net ART HIST List Serv | Institut für Kunstwissenschaft und Historische Urbanistik

During the late 1990s, the structure of the Venice Biennale underwent a dramatic overhaul, expanding into the Arsenale buildings that once housed the city’s shipyards and armouries. Its interconnecting rooms provide a counterpoint to the Giardini’s national pavilions, and the greater curatorial fluidity that this enables has been further extended through the introduction of collateral pavilions and events. These now proliferate throughout the Biennale, offering sites through which artists and curators can explore the charged issues of transnationalism, resurgent nationalism, and globalization. As was particularly evident in Okwui Enwezor’s 2015 Biennale, these interventions can resonate strongly with both Venice’s long history of maritime trading, and the current challenges it faces as a city inhabited primarily by tourists, in a continent struggling to respond coherently to the on-going refugee crisis, with an ecology that has been tangibly affected by climate change. While critics rightly continue to challenge the out-dated nature of the Biennale’s underlying structures, its vast expenditure and excess, and its imbrication in commercial markets, it is now an expanded and contested field of activity, in which the politics of representation and display are constant and highly charged.

The connectivity represented by the collateral events could be said to reflect increasing cultural homogenization, yet this programming might equally demonstrate the rise of diversity and a resurgence of interest in local identities. In Autumn 2001, the Scottish Arts Council (now Creative Scotland) and its partner, the British Council, announced plans to exhibit new work from Scotland at the 50th Venice Biennale in 2003. Scotland used the possibilities provided by the concept of the collateral pavilion and event programme to differentiate its cultural status from that of Great Britain. This example encapsulates cultural and artistic shifts around the way difference might be mobilized to gain visibility, as well as the intense debates about the status of national and cultural identities in an era of globalization. Equally, the logistical arrangement of these events and pavilions – as well as their very designation as ‘collateral’ – indicates the endurance of power imbalances and global inequalities both in the art world and wider culture.

Drawing on the rich history of the Venice Biennale, together with recent art historical interventions into issues such as globalization, migration, biennial and triennial culture, the status of ‘the contemporary’, and the relationship between art and politics, we invite papers that explore the ramifications of collateral pavilions and events in Venice. Possible topics for papers include but are by no means limited to:

• Relations between national pavilions and collateral events
• Competing politics of multiple curatorial platforms
• Issues of inclusion and representation at the Biennale, especially in relation to previously non-participating countries such as Haiti (2011), Angola (2013), and the Maldives (2013).
• Curating transnationalism
• Tensions between the local and the global
• The resurgence of nationalism and understandings of ‘the nation’
• Politics of space and place
• The role of new media and digital technologies in traversing borders
• Economics and the art market
• Strategies of disruption vs. co-option.

Please send proposals of maximum 300 words for papers of 20 minutes, together with a short biography of maximum 100 words to Dr Karen Brown (Director, Museums, Galleries and Collections Institute, School of Art History) at keb23@st-andrews.ac.uk by 24 April 2017.

​The Politics of Display: Collateral Events and Pavilions at the Venice Biennale is organised by Dr Karen Brown, Kate Keohane, and Dr Catherine Spencer as part of the EU-LAC-MUSEUMS project, run by the Museums, Galleries and Collections Institute. It is supported by the School of Art History at the University of St Andrews, and has received funding from the European Union’s Horizon 2020 Research and innovation programme under grant agreement No 693669

Sources: H-Net ART HIST List Serv | Art Market Studies

Location and Date: Amsterdam - The Netherlands, November 3 - 05, 2017
Deadline: Mar 31, 2017

Call for Papers

CHAT 2017 —Heritage, Memory, Art, and Agency— 3rd- 5th November 2017, will explore the relationship between contemporary and historical archaeology and cultural memory narratives. We will take an interdisciplinary approach to artefacts and people, examining the agency of art, and how humans, material culture, and non-human actors interact to form identities, and to create, perpetuate, and or challenge social hierarchies, taboos, and a sense of place.

We welcome papers discussing ethics, responsibility and professionalism in archaeology, memory and heritage politics, transmission and engagement with art and cultural heritage, and any other themes that help us explore how heritage, art, memory and agency impact societal actualities as well as how archaeological research can be a force for societal change.

The workshop invites abstracts (250 words max) that respond to these scientifically and politically urgent questions from junior and senior academics. Research areas include, but are not limited to:

- Images of war and conflict; photography, painting, destruction,
displaced people
- Architecture and memory
- The politics of remembrance and identity
- Archaeologies of heritage dynamics; daily life, performance
- Counter-cultures; street art, music, fashion
- Heritage and digital culture
- Collections and collectors
- Heritage, tourism, and representations of place
- Photography; aesthetics, automatism, agency
- Postcolonial heritage and memory
- Contemporary art and culture; hybridity and ambivalence
- Urban archaeology and public space

We welcome proposals for papers, posters, films and installations that respond to the conference theme and follow the above or alternative lines of enquiry. As always, proposals from disciplines outside archaeology are welcomed.

The call for papers will close on 31st March 2017. Abstracts should be
send to:

CHAT2017Amsterdam@gmail.com

Website: http://www.chat2017.nl/

Facebook: https://www.facebook.com/CHAT2017Amsterdam

Twitter: @CHAT2017

Sources: CHAT 2017 | H-Art Hist List Serv | University of Amsterdam (AHM)

Cambridge, Department of History of Art, January 18 - March 8, 2017

The series will commence on Wednesday, 18th January and take place every Wednesday at 5:00pm in Lecture Room 2 at the Department of History of Art. All are welcome to attend.

18 January
Jilleen Nadolny (Principal Investigator, Art Analysis & Research) Connoisseurship, Provenance and the Laboratory: Establishing Authenticity in the 21st Century Art World

25 January
Edmund Clark (Award-winning Artist, London) War of Terror: Terror Incognitos

1 February
Richard Aronowitz-Mercer (European Head of Restitution, Director, Sotheby’s London) Hard Facts and Soft Law: Restitution and the International Art Market

8 February
Christopher A Marinello (CEO, Art Recovery International) An Art Crime Overview: The Big Business of Art Theft, Plunder and Recovery

15 February
Donna Yates (Lecturer in Antiquities Trafficking and Art Crime, Trafficking Culture Project, Scottish Centre for Crime and Justice Research, University of Glasgow) Sacred Security: Threat, Vulnerability, and the Protection of Sacred Art in Nepal

22 February
Michael J K Walsh (Associate Professor, Nanyang Tech. University) Prayers Long Silent: Emergency Interventions to Protect Famagusta’s Imperiled Medieval Murals

1 March
Joan Kee (Associate Professor of History of Art and Director of Graduate Studies, University of Michigan) The Artist as Petit Criminal

8 March
Lionel Bently (Herchel Smith Professor of Intellectual Property and Co-Director of the Centre for Intellectual Property and Information Law (CIPIL), University of Cambridge) The Law of Quotation

Each lecture will be followed by a Q&A session and informal drinks reception. Those interested in joining the speaker and organizers for dinner following a lecture, may contact Sarah Alexis Rabinowe at sr572@cam.ac.uk.

University of Cambridge
Email: ls696@cam.ac.uk
Twitter: @ArtLawCambridge
Website:
http://www.hoart.cam.ac.uk/seminars/joint-staff-research-seminars​

Location: Manchester Museum, Manchester, February 22 - 24, 2017

From Malacca to Manchester: Curating Islamic Collections Worldwide (Manchester Museum, UK, 22-24 February 2017)

​
Date: 22nd February, 2017
Workshop: 11.30am-12.30pm and 4.00-5.00pm.
Reaching for the Stars: The Astrolabe in the Islamic World.
Collections Study Centre, Manchester Museum, Oxford Road, Manchester, M13 9PL.

Presented by Silke Ackermann (Director) and Christopher Parkin (Lead Education Officer), Museum of the History of Science, University of Oxford.
Description: This workshop will provide conference attendees with an introduction to the astrolabe, an instrument which was studied and developed by scholars and craftsman throughout the early centuries of the expansion of Islamic civilization. The workshop will explore the significance of this instrument within Islamic culture including its use in a religious context and scope for design and craftsmanship. Participants will be able to handle replica instruments and to make a working model based on one from the Museum’s collection of astrolabes from the Islamic world.

Visit: 11.00am and 1.00pm
Collection Encounter: Islamic Manuscript Highlights at The John Rylands Library Special Collections.
Location: The John Rylands Library, University of Manchester, 150 Deansgate, Manchester M3 3EH

Presented by Elizabeth Gow, Manuscript Curator and Archivist, The John Rylands Library. Please allow further time for self-guided exploration of the Rylands Gallery, the temporary exhibition, and the building.

​Workshop: 1.00-3.45pm

The Practicalities of Working in the Middle East and South Asia: A Workshop Organised by the Subject Specialist Network for Islamic Art and Material Culture.
The Whitworth Art Gallery Study Centre, The University of Manchester, Oxford Road, Manchester, M15 6ER.

​Information:
Beginning to think about working in or with institutions in the Middle East and South Asia can be a daunting prospect but one which does offer huge benefits in terms of curating your institution’s ‘Islamic’ collections. This session aims to be a practical ‘how to’ guide, and includes speakers with considerable experience in this area, who will share their understanding of the challenges and benefits from the perspective of their own work. The workshop is divided into three sessions:

Where to begin? What are the opportunities and the practicalities of organising your visit to the Middle East and South Asia?

Case studies on the benefits. How working or visiting the Middle East and South Asia can positively impact on the work carried out by you and /or your organisation in the UK.

Building your relationships with organisations in the Middle East and South Asia.

Date: Thursday, 23rd February, 2017

Kanaris Lecture Theatre, Manchester Museum, University of Manchester, Oxford Road, M13 9PL.
09.00–9.20 Registration and refreshments.

9.20-9.40 Welcome.

9.40-10.30 Keynote Lecture by Stefan Weber, Director, Museum of Islamic Art, Berlin, Germany; Pulling the Past into the Present – Islamic Art and the Museum in Times of Migration and Extremism.

10.30-10.50 Break (refreshments provided).

10.50-12.20 PANEL: THE QUR'AN IN THE MUSEUM

10.50-11.50 Convened panel: A Shared Identity: The Birmingham Qur’an –from Academia to Community.

Rebecca Bridgman, Curator of Islamic and South Asian Arts and Curatorial Team Leader, Birmingham Museums Trust; Susan Worrall, Director of Special Collections, University of Birmingham, Cadbury Research Library, University of Birmingham; Alba Fedeli, Postdoctoral Researcher, Central European University, Budapest; Sarah Kilroy, Head of Conservation and Programming, Special Collections, Cadbury Research Library, University of Birmingham; Mohammed Ali MBE, internationally acclaimed artist, founder of Soul City Arts.

11.50-12.10 Nicoletta Fazio, Former Curatorial Trainee, Museum of Islamic Art, Berlin and PhD Candidate, University of Heidelberg, Germany; Words that Matter: Exhibiting the Qur’an in the Museum of Islamic Art, Berlin.

12.10-12.20 Panel discussion.

12.20–1.20 lunch (provided).

1.20- 3.00 PANEL: PUSHING THE LIMITS: DEFINING ISLAMIC ART AND MATERIAL CULTURE

Chiara Formichi, Assistant Professor in Southeast Asian Studies, Cornell University, New York, USA; Islamic Art or Asian Art?

Mirjam Shatanawi, Curator, Tropenmuseum, Amsterdam and Museum of Ethnology, Leiden, The Netherlands; Islamic Art and Ethnographic Collections.

Francesca Leoni, Yousef Jameel Curator of Islamic Art, Ashmolean Museum of Art and Archaeology, University of Oxford, UK; Occultism and the Museum. The Case of Power and Protection: Islamic Art and theSupernatural.

Silke Ackermann (Director) and Christopher Parkin (Lead Education Officer), Museum of the History of Science, University of Oxford, UK; Interpreting Scientific Instruments from the Islamic World in the Museum.

3.00-3.20: Break (refreshments provided).

3.20-5.00 PANEL: FAITH AND IDENTITY ON DISPLAY

Heba Nayel Barakat, Head Curator, Curatorial Affairs Department, Islamic Arts Museum, Malaysia; Representation of Faith in Islamic

Galleries: Where Do We Go Wrong?

Beyza Uzun, Independent Researcher, Turkey; Display of the Sacred Relics Gallery in the Museum of Turkish and Islamic Art, Istanbul. James Bennett, Curator of Asian Art at the Art Gallery of South Australia, Adelaide, Australia, and Sam Bowker, Lecturer in Art History and Visual Culture at Charles Sturt University, Wagga Wagga, Australia; Not Melaka but Marege: Islamic Art in Australia (Or, ‘What Have the Umayyads Ever Done for Us?’).

Ana P. Labrador (Deputy Director and Chief Curator) and Cyril A. Santos (Museum Researcher), National Museum of the Philippines; Representing the Bangsamoro in an Exhibition of Ethnography at the National Museum of the Philippines.

Friday, 24th February, 2017

9.00-10.40 PANEL: INTERPRETING AND EXHIBITING ISLAMIC ART AND MATERIAL CULTURE

Nancy Demerdash-Fatemi, Visiting Assistant Professor of Art History, 2016-2017, Department of Visual Arts, Wells College, New York, USA; Border Crossings at the Museum: Interpretation, Integration and Empathic Curatorial Strategies in an Era of Trauma and Displacement.

Klas Grinell, Curator of Contemporary Global Issues, Museum of World Culture, Gothenburg, and Associate Professor in the History of Ideas at Gothenburg University, Sweden; Labelling Islam: On the Lack of a Structuring Idea in European Exhibitions of Islam.

Benedict Leigh, Project Curator, British Museum, UK; The Role of Archaeology and ‘Context’ in the Display of Islamic Material Culture. Sophia Vassilopoulou, Free University of Berlin and Museum of Islamic Art, Berlin, Germany; Bringing Academic Research into the Museum: The Exhibition Trail Objects in Transfer in the Museum of Islamic Art in Berlin.

10.40-11: Break (refreshments provided).

11.00-12.40: PANEL: CASE STUDIES: NEW INSTALLATIONS WORLDWIDE

Sharon Laor-Sirak, Curator, Museum of Islamic and Near Eastern Cultures, Be'er Sheva, Israel; From Mosque to Museum - the Museum of Islamic and Near Eastern Cultures in Be'er Sheva, Israel.

Idries Trevathan (Islamic Arts Curator) and Nora Aldabal (Museum Team Leader), King Abdulaziz Center for World Culture, Saudi Arabia; Islamic Art in Saudi Arabia; Reconnecting Communities with Collections.

Kimberly Masteller, Jeanne McCray Beals Curator of South and Southeast Asian Art, Nelson-Atkins Museum of Art, Kansas City, USA; Curating Islamic Art in the Central United States: New Approaches to Collections, Installations, and Audience Engagement.

Venetia Porter, Curator, Islamic and Contemporary Middle Eastern Art, Department of the Middle East, The British Museum, UK; From Mali to

Malacca: Redisplaying Islamic Material Culture at the British Museum.

12.40-1.40: Lunch (provided).

1.40- 2.40: PANEL: COMMUNITIES, OUTREACH AND EDUCATION 1.

Jennifer Siung, Head of Education, Chester Beatty Library, Ireland; Exploring World Faiths in Museum Collections.

Laura Weinstein, Ananda Coomaraswamy Curator of South Asian and Islamic Art, Museum of Fine Arts, Boston, USA; Looking Out and Looking In: Islamic Art at the MFA, Boston in the 21st Century.

Qaisra M. Khan, Independent Curator, Nasser. D. Khalili Collection of Islamic Art, UK; Presenting Islamic Art and the Muslim Community: The Hajj Exhibition at the British Museum.

2.40-3.00: Break (refreshments provided).

3.00-4.40: PANEL: COMMUNITIES, OUTREACH AND EDUCATION 2.

Constance Wyndham, PhD Student, Institute of Archaeology, University College London, UK; Cult Object or Cultural Artefact? Heritage Preservation as National Reconstruction at The National Museum of Afghanistan, Kabul.

Galina Lasikova, Curator, Mardjani Foundation for Support and Development of Research and Cultural Programmes; In Pursuit of Islamic Art in Moscow.

Generoso Urciuoli, Curator of the Islamic Department, Museum of Oriental Art, Turin, Italy; Outside the Showcase: Cultural Mediation Projects of the Islamic Department of the Museum of Oriental Art, Turin.

Yannick Lintz (Director) and Carine Juvin (Curator for Medieval Near and Middle East) Islamic Art Department, Louvre Museum, Paris, France; From the Louvre Museum as a Universal Museum to Communities.

4.40-5.00 Summing-up and Close.

For more information and to book please follow this link:

http://www.whitworth.manchester.ac.uk/whats-on/events/malaccatomanchester/.

Attendance will be charged at £20 per day for the two days of the full conference programme (£10 per day for students).

The workshops and visits are free but may only be attended by paying conference attendees, with the exception of the SSN workshop which anyone can attend (preferential booking will be given to UK museum professionals engaged with Islamic art and material culture).

Please direct any enquiries to: malaccatomanchester@gmail.com.