Research Forum Spring Term 2012
Performing art History
Art Despite TV
Thursday, 1 March 2012
Martin Boyce after winning the Turner Prize, BBC/Channel 4, 2011
Speaker(s): include Alixe Bovey (School of History, University of Kent), Matthew Collings (Independent Broadcaster and Writer), Jack Hartnell (The Courtauld Institute of Art), Sam Rose (The Courtauld Institute of Art), John Wyver (University of Westminster/Illuminations Media)
Ticket/entry details: Open to all, free admission.
Now fully booked but please contact ResearchForumEvents@courtauld.ac.uk if you wish to be put on the waiting list. Note that it is still possible that there may be places on the day in the event of "no shows"
Organised by: Jack Hartnell and Sam Rose with Dr Katie Scott
“Walking on camera is damn hard.” Simon Schama
Building on last year's workshops exploring and critiquing methods of delivering art historical research beyond traditional publishing routes the group return to the topic of art history and television. In Art Despite TV presenters and producers of mainstream arts television will discuss their work, focussing on the ways that arts programming can elaborate and enliven art despite the inevitable difficulties associated with creating a programme that must be both informative and popular.
This event is part of the Performing Art History Special Interest Group, a body that seeks to create a forum for exploring, developing, and critiquing methods of delivering art historical research beyond the traditional publishing routes in books or journals. Novel presentation methods, both in lectures direct to an audience and in the wider broadcast media (TV, Radio, Internet) can be an opportunity for art historians to utilise the wide range of technologies at their disposal. Furthermore, these approaches can be utilised by the art historian to make broader intellectual comment upon the material they are presenting through the medium in which it is presented. As well as exploring new ways to present research, the group will also consider the impact of these methods on the subject, and the methodological implications these new forums present to us as art historians.