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Image Matter: Art and Materiality


AAH Students New Voices Conference at MIRIAD

Image Matter: Art and Materiality
Friday, 6 November 2015
Manchester Institute for Research and Innovation in Art and Design (MIRIAD)
Manchester School of Art
Manchester Metropolitan University

Tickets: AAH Members £18; Non-Members £25
Bookings: www.aah.org.uk/events/new-voices-conferences or call +44 (0)20 7490 3211

MIRIAD has 10 free tickets for MMU PGRs on a first-come-first-served basis for the AAH Students New Voices Conference at MIRIAD. To secure your free ticket contact Sam Colling (s.colling@mmu.ac.uk).

Keynote Speakers:
Professor Hanneke Grootenboer (University of Oxford): The Pensive Image
Professor Carol Mavor (University of Manchester): FULL: A Film for Visualising the Materiality of Voice

How do art historians interpret matter? How about artists, makers, theorists and critics? New Voices 2015 explores approaches to materiality and the material in light of developing discourses that implicate art history, art practice and visual and material culture studies. Much recent art historical and visual culture literature has argued for the reinstatement of the bodily and the material in art and its encounter, rejecting the pre-eminence of a disembodied eye in favour of a wider range of somatic responses: touching, hearing, tasting, smelling. Similarly, the material physicality of the art object in its myriad forms—surface, texture, weight, spatial extension, sound etc—has recaptured our attention.

In light of a ‘material turn’ in visual culture-related disciplines, Image Matter: Art and Materiality poses a number of questions: How can writing about and through art accommodate affective objects? How have artists negotiated the conflict of a spectatorship which disregards hapticity, surface and substance? How do traditions of connoisseurship engage with contemporary theories of materiality? Or, perhaps pointedly, does the questionable pre-eminence of visuality also evidence an increased derogation of manual labour in lieu of the more cerebral? New Voices 2015 takes place within the intellectual and creative space of the art school, the messy realm of art production. It therefore asks how (the) material and its associated places of production and ‘consumption’—from the studio to the gallery—can be integrated in the discourses of art history and its objects.

List of papers:

  • Thalia Allington-Wood (University College London): Fiery Fictions: Volcanic Rock and Historic Imagination at the Sacro Bosco of Bomarzo
  • Alan Boardman (National College of Art and Design, Dublin): Manuel DeLanda and the Nonorganic Life of Affect
  • Julie Boivin (University of Toronto): Viral Decorative Prostheses: The Affective Potential of Rococo Ornamentation
  • Martha Cattell (University of York): Animal Matter: Fashioning Whalebone in the 19th Century
  • Sara Davies (Manchester Metropolitan University): Rehearsing with Bergman: Examining Diasporic Touch Through Art Practice
  • Tom Hastings (University of Leeds): S–105 (Eva Hesse, 1968) and the Matter of Interpreting a ‘Not Quite Artwork’
  • Jennifer Johnson (University of Oxford): Noli me tangere: On Not-Touching and Not Knowing in Georges Rouault’s Modernism
  • Alexandra Lester-Makin (University of Manchester): The Art of Early Medieval Embroidery
  • Katie McGown (Northumbria University): Fallen, Draped and Torn: The Unstable History of Cloth in 20th-Century Sculpture
  • Ralph Mills (Manchester Metropolitan University): ‘Very fine, very cheap, very pretty!’: The Three-Dimensional Materiality of Nineteenth-Century ‘Images’
  • Lindsey Schreiber (Temple University, Pennsylvania): ‘Praiseworthy and Masterly’: Wood Intarsia in the Gubbio Studiolo
  • Claire Shepherd (Courtauld Institute of Art): Making as Meaning in the Work of Keith Vaughan
  • Harry Stirrup (University of York): Rubbed, Scratched and Recycled: The Medieval Afterlife of Some Twelfth-Century English Manuscripts
  • Laurie Taylor (Birkbeck College, University of London): Superficial Matters: The Active and Passive Surfaces of Exhibition Photography

Registration includes: Two keynote addresses, fourteen papers showcasing new research; lunch, refreshments and drinks reception.

Enquiries at ImageMatterAAH@gmail.com

Convenors: Liz Mitchell, Rosalinda Quintieri and Tilo Reifenstein

Image: William Etty, ‘The Sirens and Ulysses’, 1837. Oil on canvas. Image detail prior to conservation in 2010. Copyright Manchester City Galleries.



Image Matter: Art and Materiality PDF