�ݺ�ߣshows by User: neilmulholland

�ݺ�ߣshows by User: neilmulholland / http://www.slideshare.net/images/logo.gif �ݺ�ߣshows by User: neilmulholland / Wed, 29 Jan 2020 09:30:57 GMT �ݺ�ߣShare feed for �ݺ�ߣshows by User: neilmulholland Artworlds | Defining the Contemporary /slideshow/artworlds-defining-the-contemporary-225822802/225822802 artworldsdefiningthecontemporary-200129093057
Lecture for Year 2 Critical and Cultural Theories of Contemporary Art, School of Art, ECA]]>
Lecture for Year 2 Critical and Cultural Theories of Contemporary Art, School of Art, ECA]]> Wed, 29 Jan 2020 09:30:57 GMT /slideshow/artworlds-defining-the-contemporary-225822802/225822802 neilmulholland@slideshare.net(neilmulholland) Artworlds | Defining the Contemporary neilmulholland Lecture for Year 2 Critical and Cultural Theories of Contemporary Art, School of Art, ECA <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/artworldsdefiningthecontemporary-200129093057-thumbnail.jpg?width=120&height=120&fit=bounds" /> Lecture for Year 2 Critical and Cultural Theories of Contemporary Art, School of Art, ECA

Artworlds | Defining the Contemporary from Prof Neil Mulholland

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0 Institutional Theories of Art /neilmulholland/institutional-theories-of-art institutionaltheoriesofart-200129092654
Lecture for Year 1, Approaches to Visual Culture, School of Art, ECA]]>
Lecture for Year 1, Approaches to Visual Culture, School of Art, ECA]]> Wed, 29 Jan 2020 09:26:54 GMT /neilmulholland/institutional-theories-of-art neilmulholland@slideshare.net(neilmulholland) Institutional Theories of Art neilmulholland Lecture for Year 1, Approaches to Visual Culture, School of Art, ECA <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/institutionaltheoriesofart-200129092654-thumbnail.jpg?width=120&height=120&fit=bounds" /> Lecture for Year 1, Approaches to Visual Culture, School of Art, ECA

Institutional Theories of Art from Prof Neil Mulholland

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0 Shift/Work /slideshow/shiftwork/9449434 shift-workmfa2011-110927180105-phpapp02
�ݺ�ߣs for Masters Contemporary Art Programme, Edinburgh College of Art.]]>
�ݺ�ߣs for Masters Contemporary Art Programme, Edinburgh College of Art.]]> Tue, 27 Sep 2011 18:01:02 GMT /slideshow/shiftwork/9449434 neilmulholland@slideshare.net(neilmulholland) Shift/Work neilmulholland �ݺ�ߣs for Masters Contemporary Art Programme, Edinburgh College of Art. <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/shift-workmfa2011-110927180105-phpapp02-thumbnail.jpg?width=120&height=120&fit=bounds" /> �ݺ�ߣs for Masters Contemporary Art Programme, Edinburgh College of Art.

Shift/Work from Prof Neil Mulholland

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0 Narrative Painting (2011) /slideshow/narrative-painting-2011/7044791 narrativepainting2011-110224093931-phpapp02
Lecture for Stage 2 and 3 students in eca.]]>
Lecture for Stage 2 and 3 students in eca.]]> Thu, 24 Feb 2011 09:39:29 GMT /slideshow/narrative-painting-2011/7044791 neilmulholland@slideshare.net(neilmulholland) Narrative Painting (2011) neilmulholland Lecture for Stage 2 and 3 students in eca. <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/narrativepainting2011-110224093931-phpapp02-thumbnail.jpg?width=120&height=120&fit=bounds" /> Lecture for Stage 2 and 3 students in eca.

Narrative Painting (2011) from Prof Neil Mulholland

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0 Parallel Lines (2011) /slideshow/parallel-lines-2011/6793286 parallellines2011-110202173304-phpapp02
]]>
]]> Wed, 02 Feb 2011 17:33:00 GMT /slideshow/parallel-lines-2011/6793286 neilmulholland@slideshare.net(neilmulholland) Parallel Lines (2011) neilmulholland <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/parallellines2011-110202173304-phpapp02-thumbnail.jpg?width=120&height=120&fit=bounds" />

Parallel Lines (2011) from Prof Neil Mulholland

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0 Who Cares Wins: Curated Environments /slideshow/who-cares-wins-curated-environments/6675714 curatedenvironments2011-110123135623-phpapp02
Lecture for postgraduate students in School of Art at eca.]]>
Lecture for postgraduate students in School of Art at eca.]]> Sun, 23 Jan 2011 13:56:22 GMT /slideshow/who-cares-wins-curated-environments/6675714 neilmulholland@slideshare.net(neilmulholland) Who Cares Wins: Curated Environments neilmulholland Lecture for postgraduate students in School of Art at eca. <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/curatedenvironments2011-110123135623-phpapp02-thumbnail.jpg?width=120&height=120&fit=bounds" /> Lecture for postgraduate students in School of Art at eca.

Who Cares Wins: Curated Environments from Prof Neil Mulholland

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0 Postconceptual Painting (2010) /slideshow/painting-ma-cat-2010/5964561 paintingmacat2010-101129071927-phpapp01
29th November MA lecture (eca closed due to snow).]]>
29th November MA lecture (eca closed due to snow).]]> Mon, 29 Nov 2010 07:19:18 GMT /slideshow/painting-ma-cat-2010/5964561 neilmulholland@slideshare.net(neilmulholland) Postconceptual Painting (2010) neilmulholland 29th November MA lecture (eca closed due to snow). <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/paintingmacat2010-101129071927-phpapp01-thumbnail.jpg?width=120&height=120&fit=bounds" /> 29th November MA lecture (eca closed due to snow).

Postconceptual Painting (2010) from Prof Neil Mulholland

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0 Aesthetics /slideshow/aesthetics-5855376/5855376 aesthetics2010-101121191952-phpapp01
�ݺ�ߣs for a First Year introduction to aesthetics focusing on the problems of Donald Judd's dictum. The slides relate to my chapter entitled "Art Worlds" in Exploring Visual Culture: Definitions, Concepts, Contexts, edited by Matthew Rampley. Published University of Edinburgh Press, 2005]]>
�ݺ�ߣs for a First Year introduction to aesthetics focusing on the problems of Donald Judd's dictum. The slides relate to my chapter entitled "Art Worlds" in Exploring Visual Culture: Definitions, Concepts, Contexts, edited by Matthew Rampley. Published University of Edinburgh Press, 2005]]> Sun, 21 Nov 2010 19:19:43 GMT /slideshow/aesthetics-5855376/5855376 neilmulholland@slideshare.net(neilmulholland) Aesthetics neilmulholland �ݺ�ߣs for a First Year introduction to aesthetics focusing on the problems of Donald Judd's dictum. The slides relate to my chapter entitled "Art Worlds" in Exploring Visual Culture: Definitions, Concepts, Contexts, edited by Matthew Rampley. Published University of Edinburgh Press, 2005 <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/aesthetics2010-101121191952-phpapp01-thumbnail.jpg?width=120&height=120&fit=bounds" /> �ݺ�ߣs for a First Year introduction to aesthetics focusing on the problems of Donald Judd's dictum. The slides relate to my chapter entitled "Art Worlds" in Exploring Visual Culture: Definitions, Concepts, Contexts, edited by Matthew Rampley. Published University of Edinburgh Press, 2005

Aesthetics from Prof Neil Mulholland

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0 Old Skool /slideshow/old-skoo/5814098 oldskoolcoventry-101117133841-phpapp01
Talk given at LGP Art Theory Course (1968-72) Symposium - 18th November 2010 LGP are organising a symposium of leading academics, artists, curators and writers to analyse the echoes of events at CSAD 1968 - 72 and look at current art educational practice and the perceived systematised failures and/or successes. It will examine the role that the regional art education institution played in the art education narrative and its significance to the wider counter culture of the 70s. In the late sixties and early seventies, CSAD held a vital subset of staff and students who together were responsible for formidable critical opposition to the art education model’s perceived compliance with the market definition of the art object and its reliance on the centrality of the author. The Art and Language collective’s critical agenda was to shift focus beyond the material paradigm and to construct an education capable of reflecting and promoting conceptual practice. The 70s administration of CSAD repelled this self conscious overturn of the traditional material/author-centric regime. This unyielding stand, common through regional art schools at that time, created a network of opposing force which became part of the wider counter culture of the decade. The symposium will look at the significant role that regional art schools played in the art education narrative and examine how, if at all, the art education institution can function as a site of self-organisation, agitation and change. It will be held at the Herbert and free to attend. http://neilmulholland.blogspot.com/2010/10/dave-rushton-lgp-coventry-18th-november.html]]>
Talk given at LGP Art Theory Course (1968-72) Symposium - 18th November 2010 LGP are organising a symposium of leading academics, artists, curators and writers to analyse the echoes of events at CSAD 1968 - 72 and look at current art educational practice and the perceived systematised failures and/or successes. It will examine the role that the regional art education institution played in the art education narrative and its significance to the wider counter culture of the 70s. In the late sixties and early seventies, CSAD held a vital subset of staff and students who together were responsible for formidable critical opposition to the art education model’s perceived compliance with the market definition of the art object and its reliance on the centrality of the author. The Art and Language collective’s critical agenda was to shift focus beyond the material paradigm and to construct an education capable of reflecting and promoting conceptual practice. The 70s administration of CSAD repelled this self conscious overturn of the traditional material/author-centric regime. This unyielding stand, common through regional art schools at that time, created a network of opposing force which became part of the wider counter culture of the decade. The symposium will look at the significant role that regional art schools played in the art education narrative and examine how, if at all, the art education institution can function as a site of self-organisation, agitation and change. It will be held at the Herbert and free to attend. http://neilmulholland.blogspot.com/2010/10/dave-rushton-lgp-coventry-18th-november.html]]> Wed, 17 Nov 2010 13:38:23 GMT /slideshow/old-skoo/5814098 neilmulholland@slideshare.net(neilmulholland) Old Skool neilmulholland Talk given at LGP Art Theory Course (1968-72) Symposium - 18th November 2010 LGP are organising a symposium of leading academics, artists, curators and writers to analyse the echoes of events at CSAD 1968 - 72 and look at current art educational practice and the perceived systematised failures and/or successes. It will examine the role that the regional art education institution played in the art education narrative and its significance to the wider counter culture of the 70s. In the late sixties and early seventies, CSAD held a vital subset of staff and students who together were responsible for formidable critical opposition to the art education model’s perceived compliance with the market definition of the art object and its reliance on the centrality of the author. The Art and Language collective’s critical agenda was to shift focus beyond the material paradigm and to construct an education capable of reflecting and promoting conceptual practice. The 70s administration of CSAD repelled this self conscious overturn of the traditional material/author-centric regime. This unyielding stand, common through regional art schools at that time, created a network of opposing force which became part of the wider counter culture of the decade. The symposium will look at the significant role that regional art schools played in the art education narrative and examine how, if at all, the art education institution can function as a site of self-organisation, agitation and change. It will be held at the Herbert and free to attend. http://neilmulholland.blogspot.com/2010/10/dave-rushton-lgp-coventry-18th-november.html <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/oldskoolcoventry-101117133841-phpapp01-thumbnail.jpg?width=120&height=120&fit=bounds" /> Talk given at LGP Art Theory Course (1968-72) Symposium - 18th November 2010 LGP are organising a symposium of leading academics, artists, curators and writers to analyse the echoes of events at CSAD 1968 - 72 and look at current art educational practice and the perceived systematised failures and/or successes. It will examine the role that the regional art education institution played in the art education narrative and its significance to the wider counter culture of the 70s. In the late sixties and early seventies, CSAD held a vital subset of staff and students who together were responsible for formidable critical opposition to the art education model’s perceived compliance with the market definition of the art object and its reliance on the centrality of the author. The Art and Language collective’s critical agenda was to shift focus beyond the material paradigm and to construct an education capable of reflecting and promoting conceptual practice. The 70s administration of CSAD repelled this self conscious overturn of the traditional material/author-centric regime. This unyielding stand, common through regional art schools at that time, created a network of opposing force which became part of the wider counter culture of the decade. The symposium will look at the significant role that regional art schools played in the art education narrative and examine how, if at all, the art education institution can function as a site of self-organisation, agitation and change. It will be held at the Herbert and free to attend. http://neilmulholland.blogspot.com/2010/10/dave-rushton-lgp-coventry-18th-november.html

Old Skool from Prof Neil Mulholland

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0 Reel 2 Real Cacophony - Artists' Moving Image in Scotland /slideshow/reel-2-real-cacophony-artists-moving-image-in-scotland/5437651 reeltoreal2009-101013183602-phpapp02
�ݺ�ߣs to accompany a Stage 3 School of Art lecture at eca based on my 'Reel 2 Real Cacophony' chapter in 'Scottish Cinema Now', Edited by Jonathan Murray, Fidelma Farley and Rod Stoneman, Cambridge Scholars Publishing, 2009.]]>
�ݺ�ߣs to accompany a Stage 3 School of Art lecture at eca based on my 'Reel 2 Real Cacophony' chapter in 'Scottish Cinema Now', Edited by Jonathan Murray, Fidelma Farley and Rod Stoneman, Cambridge Scholars Publishing, 2009.]]> Wed, 13 Oct 2010 18:36:00 GMT /slideshow/reel-2-real-cacophony-artists-moving-image-in-scotland/5437651 neilmulholland@slideshare.net(neilmulholland) Reel 2 Real Cacophony - Artists' Moving Image in Scotland neilmulholland �ݺ�ߣs to accompany a Stage 3 School of Art lecture at eca based on my 'Reel 2 Real Cacophony' chapter in 'Scottish Cinema Now', Edited by Jonathan Murray, Fidelma Farley and Rod Stoneman, Cambridge Scholars Publishing, 2009. <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/reeltoreal2009-101013183602-phpapp02-thumbnail.jpg?width=120&height=120&fit=bounds" /> �ݺ�ߣs to accompany a Stage 3 School of Art lecture at eca based on my 'Reel 2 Real Cacophony' chapter in 'Scottish Cinema Now', Edited by Jonathan Murray, Fidelma Farley and Rod Stoneman, Cambridge Scholars Publishing, 2009.

Reel 2 Real Cacophony - Artists' Moving Image in Scotland from Prof Neil Mulholland

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0 Venice: The State of Scottish Art /slideshow/venice-the-state-of-scottish-art/5437566 venice-thestateofbritishart-ahmglasgow9-10-10-101013181441-phpapp01
�ݺ�ߣs for talk given at State of Play, organised by AHM at Gilmorehill Centre, University of Glasgow, 9.10.10]]>
�ݺ�ߣs for talk given at State of Play, organised by AHM at Gilmorehill Centre, University of Glasgow, 9.10.10]]> Wed, 13 Oct 2010 18:14:33 GMT /slideshow/venice-the-state-of-scottish-art/5437566 neilmulholland@slideshare.net(neilmulholland) Venice: The State of Scottish Art neilmulholland �ݺ�ߣs for talk given at State of Play, organised by AHM at Gilmorehill Centre, University of Glasgow, 9.10.10 <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/venice-thestateofbritishart-ahmglasgow9-10-10-101013181441-phpapp01-thumbnail.jpg?width=120&height=120&fit=bounds" /> �ݺ�ߣs for talk given at State of Play, organised by AHM at Gilmorehill Centre, University of Glasgow, 9.10.10

Venice: The State of Scottish Art from Prof Neil Mulholland

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0 Painting /slideshow/painting-2010-postmodernism-stage-2-school-of-art/5437238 painting2ndyear2010-101013171433-phpapp01
�ݺ�ߣs for Stage 2 lecture on postmodernist painting, School of Art, eca, 2010.]]>
�ݺ�ߣs for Stage 2 lecture on postmodernist painting, School of Art, eca, 2010.]]> Wed, 13 Oct 2010 17:14:28 GMT /slideshow/painting-2010-postmodernism-stage-2-school-of-art/5437238 neilmulholland@slideshare.net(neilmulholland) Painting neilmulholland �ݺ�ߣs for Stage 2 lecture on postmodernist painting, School of Art, eca, 2010. <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/painting2ndyear2010-101013171433-phpapp01-thumbnail.jpg?width=120&height=120&fit=bounds" /> �ݺ�ߣs for Stage 2 lecture on postmodernist painting, School of Art, eca, 2010.

Painting from Prof Neil Mulholland

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0 Nature /slideshow/nature-5292881/5292881 nature-100926183058-phpapp01
Lecture on 'nature' for FYS students in the School of Art undertaking the menagerie project.]]>
Lecture on 'nature' for FYS students in the School of Art undertaking the menagerie project.]]> Sun, 26 Sep 2010 18:30:54 GMT /slideshow/nature-5292881/5292881 neilmulholland@slideshare.net(neilmulholland) Nature neilmulholland Lecture on 'nature' for FYS students in the School of Art undertaking the menagerie project. <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/nature-100926183058-phpapp01-thumbnail.jpg?width=120&height=120&fit=bounds" /> Lecture on 'nature' for FYS students in the School of Art undertaking the menagerie project.

Nature from Prof Neil Mulholland

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0 Confraternity of Neoflagellants /slideshow/confraternity-of-neoflagellants/4328994 thenorth-100527080816-phpapp01
Talk by Norman Hogg and Neil Mulholland for The North, 26.5.10, Edinburgh College of Art Research Workshop]]>
Talk by Norman Hogg and Neil Mulholland for The North, 26.5.10, Edinburgh College of Art Research Workshop]]> Thu, 27 May 2010 08:07:56 GMT /slideshow/confraternity-of-neoflagellants/4328994 neilmulholland@slideshare.net(neilmulholland) Confraternity of Neoflagellants neilmulholland Talk by Norman Hogg and Neil Mulholland for The North, 26.5.10, Edinburgh College of Art Research Workshop <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/thenorth-100527080816-phpapp01-thumbnail.jpg?width=120&height=120&fit=bounds" /> Talk by Norman Hogg and Neil Mulholland for The North, 26.5.10, Edinburgh College of Art Research Workshop

Confraternity of Neoflagellants from Prof Neil Mulholland

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0 Participation /slideshow/neil-mulholland-participation/3472876 participationmarch2010-100318185643-phpapp01
Out of Site Stage 3 Lecture, School of Art, Edinburgh College of Art]]>
Out of Site Stage 3 Lecture, School of Art, Edinburgh College of Art]]> Thu, 18 Mar 2010 18:56:35 GMT /slideshow/neil-mulholland-participation/3472876 neilmulholland@slideshare.net(neilmulholland) Participation neilmulholland Out of Site Stage 3 Lecture, School of Art, Edinburgh College of Art <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/participationmarch2010-100318185643-phpapp01-thumbnail.jpg?width=120&height=120&fit=bounds" /> Out of Site Stage 3 Lecture, School of Art, Edinburgh College of Art

Participation from Prof Neil Mulholland

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0 The Dark Knight Returns - Neomedieval Art After Britain /slideshow/the-dark-knight-returns-neomedieval-art-after-britain/3089965 thedarkknightreturns-neomedievalartafterbritain-100206114610-phpapp02
Presentation for CAA 2010 Conference in Chicago http://conference.collegeart.org/2010/ Historians of British Art British Art: Survey and Field in the Context of Glocalization Chair: Colette Crossman, independent scholar, Arlington, Virginia The recent three-volume History of British Art published by the Yale Center for British Art and Tate Britain invites reflection on how art historical surveys situate British art in political, economic, social, and cultural processes that affirm, vex, and otherwise relate “glocally,” integrating global, regional, and local contexts. What is “glocal” in the historiography, narratives, and methodologies of British art surveys and the ways they lend coherence to a field, blur its boundaries, or position its subject in the mainstream or margins of art history? How do they treat subjects and subjectivities—citizen, immigrant, emigrant, diasporian, tourist—that bridge local and global through lineage, heritage, memory, and travel? To what effects do they distinguish what is non-British or serve readers outside Britain? In what ways do British art surveys or British art in world art surveys advance nonart glocal political, economic, or social relationships? ------------------------ Neomedieval Art after Britain Neil Mulholland, Edinburgh College of Art Discourses of “British art” are suspended in a geopolitical vacuum that is blind to constitutional changes that have taken place in the United Kingdom since the fin de siècle devolution settlements. These discourses share the common fallacy of assuming that “Britain”—as a euphemism for a state and as a cultural imaginary—continues to exist as locus of meaningful cultural debate. In fact, since the mid-1960s, the Keynesian bureaucracy designed to promote the imaginaries of British art has been gradually dismantled, replaced by new European, national, regional, and transurban cultural technocracies. This is a symptom of neomedievalism—overlapping microgeographies supplanting unilateral colonial narratives such as “Britishness.” To understand and envisage the cultural implications of the “Balkanization of Britain,” this paper critically compares the 2009 Venice Pavilions of Britain, Scotland, Wales, Ulster, and the English Regions, foregrounding a neomedieval self-reflectiveness as the basis of a post-British alterity.]]>
Presentation for CAA 2010 Conference in Chicago http://conference.collegeart.org/2010/ Historians of British Art British Art: Survey and Field in the Context of Glocalization Chair: Colette Crossman, independent scholar, Arlington, Virginia The recent three-volume History of British Art published by the Yale Center for British Art and Tate Britain invites reflection on how art historical surveys situate British art in political, economic, social, and cultural processes that affirm, vex, and otherwise relate “glocally,” integrating global, regional, and local contexts. What is “glocal” in the historiography, narratives, and methodologies of British art surveys and the ways they lend coherence to a field, blur its boundaries, or position its subject in the mainstream or margins of art history? How do they treat subjects and subjectivities—citizen, immigrant, emigrant, diasporian, tourist—that bridge local and global through lineage, heritage, memory, and travel? To what effects do they distinguish what is non-British or serve readers outside Britain? In what ways do British art surveys or British art in world art surveys advance nonart glocal political, economic, or social relationships? ------------------------ Neomedieval Art after Britain Neil Mulholland, Edinburgh College of Art Discourses of “British art” are suspended in a geopolitical vacuum that is blind to constitutional changes that have taken place in the United Kingdom since the fin de siècle devolution settlements. These discourses share the common fallacy of assuming that “Britain”—as a euphemism for a state and as a cultural imaginary—continues to exist as locus of meaningful cultural debate. In fact, since the mid-1960s, the Keynesian bureaucracy designed to promote the imaginaries of British art has been gradually dismantled, replaced by new European, national, regional, and transurban cultural technocracies. This is a symptom of neomedievalism—overlapping microgeographies supplanting unilateral colonial narratives such as “Britishness.” To understand and envisage the cultural implications of the “Balkanization of Britain,” this paper critically compares the 2009 Venice Pavilions of Britain, Scotland, Wales, Ulster, and the English Regions, foregrounding a neomedieval self-reflectiveness as the basis of a post-British alterity.]]> Sat, 06 Feb 2010 11:46:04 GMT /slideshow/the-dark-knight-returns-neomedieval-art-after-britain/3089965 neilmulholland@slideshare.net(neilmulholland) The Dark Knight Returns - Neomedieval Art After Britain neilmulholland Presentation for CAA 2010 Conference in Chicago http://conference.collegeart.org/2010/ Historians of British Art British Art: Survey and Field in the Context of Glocalization Chair: Colette Crossman, independent scholar, Arlington, Virginia The recent three-volume History of British Art published by the Yale Center for British Art and Tate Britain invites reflection on how art historical surveys situate British art in political, economic, social, and cultural processes that affirm, vex, and otherwise relate “glocally,” integrating global, regional, and local contexts. What is “glocal” in the historiography, narratives, and methodologies of British art surveys and the ways they lend coherence to a field, blur its boundaries, or position its subject in the mainstream or margins of art history? How do they treat subjects and subjectivities—citizen, immigrant, emigrant, diasporian, tourist—that bridge local and global through lineage, heritage, memory, and travel? To what effects do they distinguish what is non-British or serve readers outside Britain? In what ways do British art surveys or British art in world art surveys advance nonart glocal political, economic, or social relationships? ------------------------ Neomedieval Art after Britain Neil Mulholland, Edinburgh College of Art Discourses of “British art” are suspended in a geopolitical vacuum that is blind to constitutional changes that have taken place in the United Kingdom since the fin de siècle devolution settlements. These discourses share the common fallacy of assuming that “Britain”—as a euphemism for a state and as a cultural imaginary—continues to exist as locus of meaningful cultural debate. In fact, since the mid-1960s, the Keynesian bureaucracy designed to promote the imaginaries of British art has been gradually dismantled, replaced by new European, national, regional, and transurban cultural technocracies. This is a symptom of neomedievalism—overlapping microgeographies supplanting unilateral colonial narratives such as “Britishness.” To understand and envisage the cultural implications of the “Balkanization of Britain,” this paper critically compares the 2009 Venice Pavilions of Britain, Scotland, Wales, Ulster, and the English Regions, foregrounding a neomedieval self-reflectiveness as the basis of a post-British alterity. <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/thedarkknightreturns-neomedievalartafterbritain-100206114610-phpapp02-thumbnail.jpg?width=120&height=120&fit=bounds" /> Presentation for CAA 2010 Conference in Chicago http://conference.collegeart.org/2010/ Historians of British Art British Art: Survey and Field in the Context of Glocalization Chair: Colette Crossman, independent scholar, Arlington, Virginia The recent three-volume History of British Art published by the Yale Center for British Art and Tate Britain invites reflection on how art historical surveys situate British art in political, economic, social, and cultural processes that affirm, vex, and otherwise relate “glocally,” integrating global, regional, and local contexts. What is “glocal” in the historiography, narratives, and methodologies of British art surveys and the ways they lend coherence to a field, blur its boundaries, or position its subject in the mainstream or margins of art history? How do they treat subjects and subjectivities—citizen, immigrant, emigrant, diasporian, tourist—that bridge local and global through lineage, heritage, memory, and travel? To what effects do they distinguish what is non-British or serve readers outside Britain? In what ways do British art surveys or British art in world art surveys advance nonart glocal political, economic, or social relationships? ------------------------ Neomedieval Art after Britain Neil Mulholland, Edinburgh College of Art Discourses of “British art” are suspended in a geopolitical vacuum that is blind to constitutional changes that have taken place in the United Kingdom since the fin de siècle devolution settlements. These discourses share the common fallacy of assuming that “Britain”—as a euphemism for a state and as a cultural imaginary—continues to exist as locus of meaningful cultural debate. In fact, since the mid-1960s, the Keynesian bureaucracy designed to promote the imaginaries of British art has been gradually dismantled, replaced by new European, national, regional, and transurban cultural technocracies. This is a symptom of neomedievalism—overlapping microgeographies supplanting unilateral colonial narratives such as “Britishness.” To understand and envisage the cultural implications of the “Balkanization of Britain,” this paper critically compares the 2009 Venice Pavilions of Britain, Scotland, Wales, Ulster, and the English Regions, foregrounding a neomedieval self-reflectiveness as the basis of a post-British alterity.

The Dark Knight Returns - Neomedieval Art After Britain from Prof Neil Mulholland

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0 Just What is it Makes Today's Art Schools So Different So Appealing? /slideshow/just-what-is-it-makes-todays-art-schools-so-different-so-appealing/2583793 hos-091125111516-phpapp01
A proposal for a 21st century school of art in Edinburgh]]>
A proposal for a 21st century school of art in Edinburgh]]> Wed, 25 Nov 2009 11:15:10 GMT /slideshow/just-what-is-it-makes-todays-art-schools-so-different-so-appealing/2583793 neilmulholland@slideshare.net(neilmulholland) Just What is it Makes Today's Art Schools So Different So Appealing? neilmulholland A proposal for a 21st century school of art in Edinburgh <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/hos-091125111516-phpapp01-thumbnail.jpg?width=120&height=120&fit=bounds" /> A proposal for a 21st century school of art in Edinburgh

Just What is it Makes Today's Art Schools So Different So Appealing? from Prof Neil Mulholland

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0 Devolving Scottish Art /slideshow/devolving-scottish-art/2531960 devolvingscottishartstage32009-091118170537-phpapp02
�ݺ�ߣs for Stage 3 elective Contemporary Scottish Visual Culture Week 9: Thursday 19th Nov 2009]]>
�ݺ�ߣs for Stage 3 elective Contemporary Scottish Visual Culture Week 9: Thursday 19th Nov 2009]]> Wed, 18 Nov 2009 17:05:07 GMT /slideshow/devolving-scottish-art/2531960 neilmulholland@slideshare.net(neilmulholland) Devolving Scottish Art neilmulholland �ݺ�ߣs for Stage 3 elective Contemporary Scottish Visual Culture Week 9: Thursday 19th Nov 2009 <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/devolvingscottishartstage32009-091118170537-phpapp02-thumbnail.jpg?width=120&height=120&fit=bounds" /> �ݺ�ߣs for Stage 3 elective Contemporary Scottish Visual Culture Week 9: Thursday 19th Nov 2009

Devolving Scottish Art from Prof Neil Mulholland

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0 The Dark Knight Returns Neomedivalism In Recent Art /slideshow/the-dark-knight-returns-neomedivalism-in-recent-art/2386438 thedarkknightreturns-neomedivalisminrecentart-091030145449-phpapp01
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]]> Fri, 30 Oct 2009 14:54:46 GMT /slideshow/the-dark-knight-returns-neomedivalism-in-recent-art/2386438 neilmulholland@slideshare.net(neilmulholland) The Dark Knight Returns Neomedivalism In Recent Art neilmulholland <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/thedarkknightreturns-neomedivalisminrecentart-091030145449-phpapp01-thumbnail.jpg?width=120&height=120&fit=bounds" />

The Dark Knight Returns Neomedivalism In Recent Art from Prof Neil Mulholland

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0 Nuke The Fridge /slideshow/nuke-the-fridge/2202176 nukethefridge-091012165551-phpapp02
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]]> Mon, 12 Oct 2009 16:53:38 GMT /slideshow/nuke-the-fridge/2202176 neilmulholland@slideshare.net(neilmulholland) Nuke The Fridge neilmulholland <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/nukethefridge-091012165551-phpapp02-thumbnail.jpg?width=120&height=120&fit=bounds" />

Nuke The Fridge from Prof Neil Mulholland

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0 https://cdn.slidesharecdn.com/profile-photo-neilmulholland-48x48.jpg?cb=1738932499 Professor of Contemporary Art, Associate Head of the School of Art, Director of Masters Programmes in the School of Art masterscontemporaryart.eca.ac.uk www.neilmulholland.co.uk https://cdn.slidesharecdn.com/ss_thumbnails/artworldsdefiningthecontemporary-200129093057-thumbnail.jpg?width=320&height=320&fit=bounds slideshow/artworlds-defining-the-contemporary-225822802/225822802 Artworlds | Defining t... https://cdn.slidesharecdn.com/ss_thumbnails/institutionaltheoriesofart-200129092654-thumbnail.jpg?width=320&height=320&fit=bounds neilmulholland/institutional-theories-of-art Institutional Theories... https://cdn.slidesharecdn.com/ss_thumbnails/shift-workmfa2011-110927180105-phpapp02-thumbnail.jpg?width=320&height=320&fit=bounds slideshow/shiftwork/9449434 Shift/Work