2021 SESSIONS
 

Our 2021 Annual Conference is a special expanded online event which will include a total of 59 sessions taking place over four days from 14 - 17 April 2021. Within these 59 sessions are 27 sessions that were intended to take place in 2020, but will be accommodated within the 2021 Annual Conference instead. 

Session Convenors and speakers will participate and present their papers digitally, and participate in digital session discussions and debates on-screen, using a secure virtual event platform that will allow delegates maximum access to papers and discussions. Session and paper formats will remain the same, and the four-day programme will continue to offer a range of additional workshops, virtual tours, keynote lectures and networking opportunities for delegates to engage with. We will be conscious of international time differences and screen-fatigue, but aim to offer delegates the same quality of content and experience that people have come to expect, respect and enjoy at an Association for Art History Annual Conference.


Session Timetables available for downloading Wednesday | Thursday | Friday | Saturday
 

SESSIONS 

 

A Moving Experience: Exhibition infrastructures and the portability of art (Nushelle de Silva)

Afrotropes as an Analytical Framework to Expand Art Historical Methologies of the Black Atlantic? (Sarah Hegenbart & Levi Prombaum) CANCELLED
 

Art Disputes: Conflict and competition across the ages (Edward Payne & Bernadette Petti)
 

Art History, Theory and Practice for an Ecological Emergency (Lucy Whelan & Andrew Patrizio)
 

Art into Pop (Redux) (Gavin Butt)
 

Art, Obscurity, and the Politics of Rescue (Flora Dunster & Amy Tobin)
 

Challenging Legacies in Post-Colonial and Post-Socialist Notions of Place (Karen von Veh & Landi Raubenheimer)

Challenging Orientalism: New questions of perception and reception (Emily Christensen & Erica Payet)
 

Changing Approaches to Histories of British Art, 1660-1735 (Claudine van Hensbergen & Lydia Hamlett)
 

Climates of Colonalism (Gabrielle Moser & Julia Lum)
 

Connectivity, Transcultural Entanglements, and the Power of Aesthetic Choices in Africa (Abidemi Babatunde Babalola & Vera-Simone Schulz)

Contemporary Art, Health & Medicine (Imogen Wiltshire & Fiona Johnstone)
 

Craft and War (Jennifer Way)
 

Critical Digital Art History: Interface and data politics in exhibitions, museums, and collections (Anna Dahlgren & Amanda Wasielewski)

Displaying Art in the Early Modern Period (1450-1750). Exhibiting practices and exhibition spaces (Pamela Bianchi)
 

Exhibiting Craft: Histories, contexts, practices (Claire Jones & Inês Jorge)

Exiled and Female: Visualising identity in the work of women artists (Carmen Gaitán Salinas & Mari Paz Balibrea)
 

Exploring Diversity in Public Sculpture (Klairi Angelou)
 

Exploring the Plurality of Artists' Practices: Artists as dealers and agents (Marie Tavinor & Ariana Turpin)
 

Female Art Dealers in mid-Twentieth-Century Britain (Abi Shapiro and Sarah Victoria Turner)
 

From Canvas to Stage: The visual artist as opera scenographer (Hannah Chan-Hartley and Corrinne Chong)
 

From Keeper to Maker: British curatorial practices (Massimiliano Papini, Laia Anguix & Elisabetta Fabrizi)

Global Art History and the Imbalance of Power (Khadija von Zinnenburg Carroll, Stacey Kennedy & Azadeh Sarjoughian)

Graphically Graphic Art: The making of modern print erotica 1850-1950 (Abbey Rees-Hales & Camilla Smith)

Hybrid Marines (Bryan Biggs & Gabriel Gee)
 

Jewish Visual Culture in Modern Europe (Tom Stammers)
 

Material/Immaterial: The lives (and afterlives) of objects (Lynn Sommers)
 

Matter (Im)materials and Materiality: On the life of digital artworks (Alexandra Moschovi & Beryl Graham)
 

Museums for the Global Majority: Expanding the limits of museum practice (Maryam Ohadi-Hamadani & Jennifer Reynolds-Kaye)

Mysticism and the Visual Arts (Elliott D Wise & Ingrid Falque)
 

Political Appropriations (Lara Perry & Elke Krasny)

Pre-Modern Women as Artists, Patrons and Collectors (Jamie Edwards, Elizabeth L'Estrange & Edward Wouk)

Provincializing Impressionism (Samuel Raybone)
 

'Queer' 'British' 'Art' (Theo Gordon)
 

Race and Representation in the French Colonial Empire (Suannah Blair & Stephanie O'Rourke)

Re-writing the Canon: New directions in art writing (Sophie Hatchwell & Sam Rose)

Reanimating the Past: Embodied knowledge as art-historical method (Juliet Bellow & Meredith Martin)

Representing the Nation: The historic and continuing role of National Art Institutitions (Neil Lebeter & Freya Spoor)
 

Smell and Stereotype in 18th and 19th-Century Visual Culture (Ersy Contogouris & Érika Wicky)

Surrealism and Scotland (Patricia Allmer, Gráinne Rice & Susannah Thompson) 

Surrealism in 1960s and 1970s Latin America (Paulina Caro Troncoso) 

The Big Data Archive: Digitising Ed Ruscha’s Streets of Los Angeles (Nathaniel Deines & Zanna Gilbert)

The Big Screen: Art History and British Cinema (Mark Hallett & Lynda Nead)  - SESSION SPONSORED BY THE PAUL MELLON CENTRE

The Book of the Future: Photobooks between disciplines (Fiona Allen, Simon Constantine & Daniel Hartley)
 

The Laws that Bind Us (Ashley Gallant& Estelle Derclaye)

The Plantation Complex (Emilia Terracciano & Anna Arabindan-Kesson)
 

The Real Price: Between art and the (art) market (Bill Balaskas)

The Social Life of Sculpture (Christian Berger & Heather Diack)

The Space Between Non-Arts and Fine Arts: Confronting gender and the decorative arts, 1500-1800 (Samantha Chang, Lauryn Smith)

The Virgin as Auctoritas. The athority of the Virgin Mary and female moral-doctrinal authority in the Middle Ages (Francesca Dell'Acqua) - SESSION SPONSORED BY ICMA 
 

The Visual Politics of Independent Print Media in the 20th Century (Louise Siddons & Victoria Bazin)

Theatre, Art and Visual Culture in the 19th Century (Patricia Smyth, Jim Davies, Kate Newey & Kate Holmes)
 

Toxic Masculinity (Classical to Contemporary) (Lucy Weir & Carol Richardson)
 

Troubling Borders: Art worlds in the sites of conflict (Edwin Coomasaru, Sarah Keller & Rachel Warriner)

Video Art and Africa (Katarzyna Falęcka & Gabriella Nugent)

Visual Art and the Middlebrow (Michael Clegg & Rebecca Savage)
 

Walking on Images (Michael Tymkiw)
 

What's love got to do with it? Queer-feminist desires in researching and writing art histories (Aleksandra Gajowy & James Bell)

Why Trompe L'Oeil? The art of deception across the boundaries of time and space (Chih-En & Stacey Pierson)
 

Working Together to Expand the Pool of Art History Students (Hilary Robinson & Edward Wouk) (Workshop)