It focuses on the period from 1970, when , which craft theorist Glenn Adamson suggested, marks a paradigm shift in ceramics.
Extrapolating from Miwon Kwon’s writing on site-specificity it contends that although museums and galleries acted as the functional sites for these exhibitions the discourse around ceramics was a key site of effect.
The article points to possible ways of bridging the gap between the kind of visual cultural and social psychology pursued by Warburg and the perceptual psychology that concerned Arnheim.
It is argued that, far from being a matter of just historiographic interest, the attempt to make such connections touches on some key issues and concepts of art theory and its relationship to sciences of the mind and brain today.
This essay looks at practices involving copying and their impact on understandings of authenticity, the role of art in science, the nature of the observer and visual communication in relation to the broad scope of Blandowski’s archive, but particularly with regard to Andrew’s intervention in it.
By examining the way that the past is brought into the present in the series, this essay seeks to facilitate a more richly nuanced understanding of these works that is cognizant of the historical issues involved.Key words: Friedrich Sarre, Anatolia, Seljuk architecture, Persian architecture, Islamic art, Konya Laura Breen (University of Westminster), ‘Redefining ceramics through exhibitionary practice (1970-2009)’11/LB1 Abstract: Since the 1960s the field of ceramic practice that developed in the wake of studio pottery has expanded to incorporate diverse uses of clay.In the same period public museums and galleries in Britain have begun to engage with contemporary ceramic works on a more sustained basis.Keywords: ceramics, museums, medium, exhibition, crafts, decorative arts, clay, pottery, expanded field Keith Broadfoot (Sydney), ‘The blot on the landscape: Fred Williams and Australian art history’ 11/KB1 Abstract: A defining shift in Australian art historiography occurred with the publishing of Bernard Smith’s 1980 Boyer Lecture series, .Seeing the exclusion of an Aboriginal presence in Australian art through the ideas of Freud, the history of Australian art, Smith proposed, was a history of repression.On Gottfried Semper’s London connections’ 11/DW1 Translations Karl Johns (Klosterneuburg), ‘The originality of Kaschnitz’: Guido Kaschnitz Weinberg, ‘The problem of originality in Roman art’ [Guido Kaschnitz von Weinberg, , No.13608, Morning Edition, Sunday, July 13, 1902, ‘Literatur-Blatt,’ 34-35] 11/KJ2 Nóra Veszprémi (Eötvös Loránd University), ‘Lajos Fülep: The task of Hungarian art history (1951)’ [Lajos Fülep, ‘A magyar művészettörténelem föladata (1951),’ in Ernő Marosi ed., [Programmes of Hungarian art history writing], Budapest: Corvina, 1999, 283–305, edited by Árpád Tímár] 11/NV1 Ester Alba Pagán (Valencia), ‘Juan Alberto Kurz Muñoz and his academic contribution to the study of the history of Russian art’ [Juan Alberto Kurz Muñoz y su aportación a la historiografía del arte ruso.Several crucial historical moments in curating, even when labeled by an individual’s name, were nonetheless connected to collective or collaborative endeavors.Key words: exhibition history, history of curating, art history, contemporary art, museum studies, conceptual art, Harald Szeemann, Seth Siegelaub, Lucy Lippard Kerry Heckenberg (Queensland), ‘Retrieving an archive: Brook Andrew and William Blandowski’s (1862)?In: Annual Report of Institute of Art and Design, University of Tsukuba, Japan, 2006, 48-54 (Japanese) and 71-77 (English).] 11/CWH1 Wilfried van Damme (Leiden and Tilburg), ‘Cultural encounters: Western scholarship and Fang statuary from Equatorial Africa’ [Inaugural address, delivered on the acceptance of an extraordinary professorship at Tilburg University, Netherlands, in 2011] 11/Wv D1 Christopher S.Wood (New York University), ‘Aby Warburg, Farnham: Ashgate, 2014, 248 pp., 29 b&w illustrations, £60.00 hardback, ISBN 978-1-4094-7033-5 11/LD1 Emily Gephart (School of the Museum of Fine Arts, Boston), ‘Historical narratives and historical desires: re-evaluating American art criticism of the mid-nineteenth century’: Karen Georgi, , The Pennsylvania State University Press, 2013, 152 pp., 8 black and white illustrations. Link Abstracts Patricia Blessing (Stanford), ‘Friedrich Sarre and the discovery of Seljuk Anatolia’ 11/PB1 Abstract: The German art historian Friedrich Sarre (1865-1945) is best known as the director, from 1925-31, of the Islamic collection of the Berlin Museums, and for his collaboration with Ernst Herzfeld on the excavation of the Abbasid palaces of Samarra, Iraq, just before the onset of the 1914-18 war.