Globalising Art, Architecture and Design History?Debating Approaches to Curriculum Change in the UK

Speakers

Brian Aitken is a website developer at the Humanities Advanced Technology and Information Institute at the University of Glasgow. He has designed and implemented the www.theglasgowstory.com website (launching in October 2003), developed a pilot website for a major Scottish Executive funded project, is the webmaster for www.digicult.info and has developed parts of the www.erpanet.org website. He is currently developing an online archive of Andy Goldsworthy's work and is creating a pilot website for the Burrell Collection.

Jorella Andrews is a lecturer in the Unit of Visual Cultures at Goldsmiths College, and a member of the editorial board of the journal Third Text. Her research is concerned with the relations between philosophical inquiry, perception and artistic practice. She has published on phenomenology and on contemporary and Dutch seventeenth-century visual culture, and is currently writing a book entitled Showing Off: Merleau-Ponty, Ethics and the Image-world.

Dr Crispin Branfoot is Research Fellow in South Asian art and architecture and Course Leader for the MA in South Asian Arts in the Faculty of Art and Design at De Montfort University. His research has focused on the Hindu art and architecture of South India between 1200 and 1750, with an emphasis on Tamilnadu. He has taught South Asian art at SOAS, the British Museum and Oxford University.

Craig Clunas is the GLAADH Project Director and, until recently, Professor of History of Art at the University of Sussex, where he was also curator of the University's Barlow Collection of Chinese Ceramics, Jades and Bronzes. His work focuses on the material and visual culture of China since around 1200, specialising in the Ming period, with interests extending to art in China in the 20tth century, and the historiography of Asian art in Europe and America. His books include Art in China (Oxford, 1997), Pictures and Visuality in Early Modern China (London, 1997) and Elegant Debts: The Social Art of Wen Zhengming 1470-1559 (Reaktion books, forthcoming).

Rose Cooper is Senior Lecturer in Design History at Sheffield Hallam, and Course Leader for the BA (Hons) in the History of Art, Design and Film and for Minor in Arts and Media Management. Her research is on local identity, the vernacular and institutional strategies and interventions. Recent conference papers have been on issues of regional identity and the cultural positioning of domestic architecture (Second International Conference on Design History, Havana, 2000); the cultural value and positioning of the vernacular in Britain (Sheffield, May 2001);and the role of photography in the creation of Eskimo 'Airport Art', (Tourism and Photography: Still Visions - Changing Lives, Sheffield July 2003)

Mark Crinson's research explores the role of modern architecture and architectural culture in relation to imperial decline, the emergence of independent nation states and neo-colonialism. Books include Empire Building: Victorian Architecture and Orientalism (Routledge, 1996) and Modern Architecture and the End of Empire (Ashgate, 2003), and with Jules Lubbock, Architecture - Art or Profession? Three Hundred Years of Architectural Education in Britain (Manchester UP, 1994). He has also edited Sonia Boyce: Performance (inIVA, 1998), and contributed articles to a number of periodicals and edited collections, including Orientalism and Its Interlocutors (Duke UP, 2002), and The Visual Arts and the Cultures of Nationalism (MUP, forthcoming).

Jonathan's interest in art began as a child studying French Neolithic paintings reproduced on the wastebasket in his toilet. This was combined with hours spent in South African 'gift' shops as a nine-year-old. Nothing has really changed since then, the wonders (and horrors) of human production retaining the same fascination. Jonathan trained and worked as an archaeologist with the Birmingham Field Archaeology Unit's Sandwell Valley daughter project. This object centred approach was refined and sophisticated under George Noszlopy and Ken Quickenden's tutelage. His two favourite recent(ish) papers are an examination of revival in the light of post-modern understandings of time for the Comite International d'Histoire de l'Art (2000), and a paper examining the growth of Rasta culture in Asia for the Amsterdam University (ASCA) conference on Accented Culture (2003).

Thomas Dowson's research interests include the study of prehistoric and African arts, aswell as the socio-politics of the past - particularly the role of sexual politics in constructions of the past. He is particularly interested in the representation of prehistoric and African arts in the West, and is currently researching the history of collections of art from the City of Benin looted in 1879. Books include Rock Engravings of Southern Africa (Witwatersrand UP, 1992) and, with David Lewis-Williams, Images of Power: Understanding San Rock Art (2nd Edition, Struik 2000). He is on the editorial board of World Archaeology, for which he is editing a volume entitled Politics and Pedagogy of the Past (October, 2004).

Jeremy Howard is a lecturer at the School of Art History, University of St Andrews. He specialises in central and east European art, architecture and design.

Fran Lloyd has published widely on contemporary visual culture. Her publications include Consuming Bodies: Sex and Contemporary Japanese Art (2003), Displacement and Difference (2000), Secret Spaces, Forbidden Places: Re-Thinking Culture (2000, co-editor), and Dialogues of the Present: Contemporary Arab Women's Art (1999). She has contributed to various publications including Journal of Visual Culture in Britain (2001), Journal of Algerian Studies (2001), and Feminist Visual Culture: An Introduction, edited by Carson and Pajaczkowska (2000), and convened a series of international conferences on contemporary visual culture which address issues of place, gender and cultural identity.

Formerly Visiting Professor in the Africana Studies Program at New York University, and Writer-in-Residence at inIVA (Institute of International Visual Arts), Kobena Mercer's research interests concern visual art and culture in the black diaspora, the intersections of race, sexuality and gender in identity, and the culture and politics of difference in the history of 20th century modernity. He is author of Welcome to the Jungle: New Positions in Black Cultural Studies (Routledge, 1994), Keith Piper: Relocating the Remains (inIVA, 1997) and most recently, James Vanderzee (Phaidon, 2003). Articles and contributed essays include Black Male (1994), Pictura Britannica (1997), Adrian Piper: A Retrospective (1999), and Art History, Aesthetics, Visual Studies (2002).

Lucia Nagib is Associate Professor at the Institute of Arts, State University of Campinas, Brazil, and Leverhulme Trust Visiting Professor at Birkbeck College, School of History of Art, Film and Visual Media. She is the author of several books, including Werner Herzog - Film as Reality, Born of the Ashes - the Auteur and the Individual in Oshima's Films, The Japanese Nouvelle Vague, The Renaissance of Brazilian Cinema: Interviews with 90 Filmmakers of the 90s, and she has edited, among others, The New Brazilian Cinema (I.B. Tauris, 2003).

Simon Ofield is interested in the relationships between historical research, theoretical analysis and social/sexual/visual practice. He is currently completing a book on the connections between visual and spatial culture, and male social/sexual practices and pleasures in and around London after WW2. He is on the editorial board of Journal of Visual Culture, and has published articles on the connections between public space, visual culture and male social/sexual practice and identity. He also has an ongoing research interest in studio practice and its sometimes problematic relationship with historical and theoretical inquiry.

Many of Stephanie Pratt's current research interests extend from the work she undertook for her doctoral dissertation, 'The European Perception of the Native American, 1750 - 1850' (C.N.A.A., 1989). Her recent publications include an essay, 'From Cannassatego to Outalissi: Making Sense of the Native American in Eighteenth Century Culture,' in the volume, An Economy of Colour. Visual Culture and the Atlantic World, 1660 - 1830, edited by Geoff Quilley and Kay Dian Kriz (Manchester University Press, 2003). Her book British Art and the American Indian, 1700 - 1840 is forthcoming with the University of Oklahoma Press. She is an enrolled member of the Crow Creek Dakota Sioux tribe.

Donald Preziosi developed and directs the Art History Critical Theory programme, as well as the UCLA Museum Studies programme. He is also Research Associate in Visual Culture at Oxford, where he delivered the annual Slade Lectures in Fine Arts, 2001. He is the author of eleven books on art and architectural history, museology, aesthetics, and the history of art institutions and professions, including Rethinking Art History: Meditations on a Coy Science (Yale UP, 1989), ed. The Art of Art History (OUP, 1998), Brain of the Earth's Body: Museums & the Fabrication of Modernity (Minnesota UP, 1999) and Seeing Through Art History (Amsterdam, 1999).

Will Rea completed his PhD at the Sainsbury Research Unit, University of East Anglia. Since then he has taught at UCL, SOAS and Goldsmiths and is currently Henry Moore Lecturer in the department of Fine Art, Art History and Cultural Studies at the University of Leeds. His main interest is in the masquerade traditions of Ekiti Yoruba, and he is currently finishing a book based upon fieldwork in the Ekiti town of Ikole. He also has interests in the relationship between art history and anthropology, sculpture studies and the anthropology of religion.

Veronica Sekules' research interests are in the fields of sculpture and liturgical furnishings in England and Europe from the 13th to 15th centuries. She has also written about the art patronage and consumption of art by medieval women, and continues to work on these themes. She has published regularly in the fields of visual arts and museum education, and modern art, including the book Medieval Art (OUP, 2001). Veronica Sekules is also co-Director of CARVAE (Centre for Applied Research in Visual Arts Education), jointly operated with the SVCA, where she was formerly Exhibitions and Collections Curator.

Paul Shakeshaft teaches modules on modern and traditional art and architecture, and on modern visual culture and visual theories. His recent research interests have been directed by his responsibilities for the art history and fine art BA pathways in the APU Cambridge School of Art. As well as working on the GLAADH project, he has been conducting an ADC-LTSN inquiry into the assessment of contextual and critical studies on BA fine art degrees.

Marquard Smith is the Course Director for the Masters programme in Art History at Kingston University, where he has recently played a key role in setting up a new BA (Hons) programme in Visual and Material Culture. He is a Founder and the Editor-in-Chief of the Journal of Visual Culture (Sage). Marq carries out research and writes on representations of the human body. Books include The Limits of Death: Between Philosophy and Psychoanalysis (MUP, 2000, co-edited), Stelarc: The Monograph (MIT, 2003, co-authored), and Against Flesh: A Traumatic Visual Culture of the Prosthetic Body.

Richard Williams teaches art from 1945 to the present, with a particular focus on the 1960s. His research interests and publications include discussions on the Minimalist generation of sculptors, the modern city (with particular interest in Latin America), the M1 motorway, and the Great Court of the British Museum. Publications include contributions to The Art Book, Art History, Art Monthly, The Sculpture Journal and the book, After Modern Sculpture (Manchester, 2000). He is currently working on a history of post-war British urbanism (Routledge, forthcoming).

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