- 6 October 2020
- 12:00 – 2:00 pm
- An event as part of the multi-part conference programme 'British Art and Natural Forces'
- Zoom Webinar
Format: 20 mins papers x 4, plus Q&A
Chair: Martin Myrone (Convenor, British Art Network)
Speakers and papers:
Caterina Franciosi (PhD Student, History of Art at Yale University), ‘“Hell on Earth”: Edward Burne-Jones’s Perseus Series (1876–1885) and Narratives of Geophysical Development’
Stephanie O’Rourke (Lecturer in Art History at the University of St Andrews), ‘Picturing the Geological Sublime’
Joe Kerr (Adjunct Professor of Architectural History at Syracuse University, London), ‘Alfred Watkins: Art, Nature and the Supernatural’
Tobah Aukland-Peck (PhD Student, Art History at the Graduate Center of the City University of New York), ‘“Minerals of the Island”: Tracing the Fossil Landscapes of the 1951 Festival of Britain’
British Art and Natural Forces:
A State of the Field Research Programme
In the year 2020, the Paul Mellon Centre marks its 50th anniversary as an institution dedicated to the study of British art and architecture. It is a year in which artistic practice and the practice of art history have met with the unprecedented force of a global pandemic.
This multi-part programme of research events focuses on the encounter between artistic and art-historical practice and the forces of the natural world. It places such encounters in both contemporary and historical perspectives.
In doing so, it aims not only to respond to the exigencies of the current moment, but to foreground some of the most vital activities and conversations taking place within the field of British art studies. In recent years, scholars have concentrated with new intensity on the overlaps between artistic, geophysical, biological and ecological bodies of knowledge.
The series speaks to many of the new interdisciplinary collaborations that are currently shaping art-historical practice, where scholars of the visual arts are working across different subject-fields to explore natural histories, indigenous forms of knowledge, animal studies, concepts of the post-human and revitalised theorisations of the sublime.
It foregrounds the astonishingly rich and diverse representations of natural forces found throughout the history of British art. The programme will explore such representations in the light of current debates and theoretical frameworks, and with the acknowledgement that human agency and reflexive awareness are natural forces in their own right.
Schedule and format
A series of panels and keynote lectures will address the ways in which artistic and art-historical thinking and practice – in the contexts of British art and visual culture – have shaped or been shaped by the encounter with natural forces, whether benign or cataclysmic, short- or long-term, visible or invisible.
The events in this programme will be hosted throughout the 2020 autumn term. Sequential in character, they are designed to forge and facilitate a set of expansive conversations that unfold over time.
Caterina Franciosi is an incoming PhD student in the Department of History of Art at Yale University, where she will study nineteenth-century British art, with a focus on the visual culture of landscape and the environment and its intersection with the history of science. She received her MA from the Courtauld Institute of Art in 2019, where her dissertation ‘“Hell on Earth”: Edward Burne-Jones and the Histories of the Earth’ was awarded the Courtauld Prize for an Outstanding Dissertation. She holds a BA in Art History from John Cabot University, Rome.
Dr Stephanie O’Rourke is a lecturer in art history at the University of St Andrews. This paper is part of a Leverhulme-funded research project on the relationship between landscape painting and natural history in late eighteenth- and early nineteenth-century Europe. Her recent publications on this topic can be found in Representations, Eighteenth-Century Studies, and Word & Image. She holds a PhD from Columbia University and a BA from Harvard University.
Joe Kerr is an Adjunct Professor of Architectural History at Syracuse University, London. He was previously the Head of the Critical & Historical Studies Programme, Royal College of Art. He is co-editor of the forthcoming book Alfred Watkins: Man of Vision (Strange Attractor Press, 2021) and curator of the exhibition of the same name at the Hereford Museum & Art Gallery (June 2021). Amongst his publications are: The Unknown City: Contesting Architecture and Space(MIT Press, 2000); Autopia: Cars & Culture (Reaktion, 2002); London From Punk to Blair Revised 2nd Edition (Reaktion, 2012); and Bus Fare: Collected Writings on London’s Most Loved Means of Transport (AA Publishing, 2018)
Tobah Aukland-Peck is a fifth year PhD student in art history at the Graduate Center of the City University of New York. Her dissertation research focuses on images of extraction (mines, miners, and mining infrastructure) in interwar Britain. She locates the figure of the miner as an alter-ego for the artist, tracing the way in which both instances of labor are engaged with the translation of landscape and raw material into productive commodities. Her essay ‘“The Abbey in Ruins and Ablaze”: Staging Disaster at the British Empire Exhibitions’ will be published in Imagining the Apocalypse, forthcoming from Courtauld Books Online.
Guidelines for users attending Zoom webinars
Before the webinar
- Please download Zoom software in advance.
- Please register to attend the Research Lunch webinar through Eventbrite.
- We will share the link to the Zoom webinar with you in advance by email through Eventbrite.
- If you require closed captioning during this event, please get in touch at least two weeks before the event date.
During the event
- Paul Mellon Centre staff hosting the event will employ the appropriate security features to help ensure that events and meetings operate safely.
- There will be a waiting room feature that allows the host to control when all participants join the meeting.
- You will be automatically muted when you join the webinar and can only communicate verbally if the host unmutes you.
- Use the Q&A box to ask/write your questions after the talk.
- You can also use the virtual raise hand button if you have a question/comment to make by audio.
- Use the chat box to make comments.
- If you are experiencing any technical problems, please notify Ella Fleming (events manager) or Danielle Convey (events assistant) directly using the chat box function. Alternatively you can email them via email@example.com.
- The Paul Mellon Centre will not take photographs of this event and participants are requested likewise not to do so.
- This session will be recorded for educational and research purposes. The recording may be made available on the Centre’s website and via YouTube. It will be stored indefinitely in the Centre’s Institutional Archive.
- Any offensive behaviour will not be tolerated and attendees can be removed from the webinar by the host.
The Paul Mellon Centre is aware of its obligations under the General Data Protection Regulations (GDPR) and is committed to processing your data securely and transparently.
For more information on Zoom’s compliance with EU GDPR see: https://zoom.us/gdpr.
Image credit: Graham Sutherland, Miner Probing a Drill Hole, 1942, gouache, wax crayon and ink on paper, 56 x 51.2 cm. Tate (N05741). Digital image courtesy of Tate
08 Oct 2020
20 Oct 2020
Authors of Architecture
22 Oct 2020
Apocalyptic Conjunctures: The Weather of Art History
03 Nov 2020
05 Nov 2020
Observation and Diagnosis: Pathologizing Bodies, Medicalizing Space in the British Empire
17 Nov 2020
18 to 19 Nov 2020
Screening of The Otolith Group’s INFINITY minus Infinity (2019)
19 Nov 2020
Racial Capitalocene: Ecology and Abolition
24 Nov 2020
Curating the Sea: Journal of Curatorial Studies Special Issue Launch
25 Nov 2020
“Racial Capitalocene: Ecology and Abolition” - Live Q&A with T. J. Demos
26 to 27 Nov 2020
Screening of John Akomfrah's The Nine Muses (2010)
01 Dec 2020
Unstable Boundaries, Ecologies
03 Dec 2020
Final Panel Discussion