The Attic (a name which commemorates our first physical location) is, first and foremost, a site for the research students of the School of Museum Studies at the University of Leicester: a virtual community which aims to include all students, be they campus-based and full-time, or distance-learning and overseas. But we welcome contributions from students of museum studies - and allied subject areas - from outside the School and from around the world. Here you will find a lot of serious stuff, like exhibition and research seminar reviews, conference alerts and calls for papers, but there's also some 'fluff'; the things that inspire, distract and keep us going. After all, while we may be dead serious academic types, we're human too.

Tuesday, July 31, 2007

A museum boom?

Here's an interesting article from The Economist. It suggests that while China is investing massively in museums, these institutions cannot keep up with the destruction of historical artefacts and sites catalysed by rapid economic development. Ironically there are insufficient museum professionals to staff these new museums and the cost of running them has inflated entry costs and priced ordinary people out. So, what exactly are they for? The journalist suggests that they do not represent a new found appreciation of China's history and culture. Instead, it appears, building a brand new, state of the art museum is a status symbol. A way for local government to visually indicate that their town or city is on the up, is modern and forward-thinking. Does this suggest that museums, in China, are perceived to be symbolic agents of a capitalist economy? But are ultimately white elephants?

Before anyone accuses me of unfairly dissing China (!), let me offer another example. Don't we do the same? Think about all the financially struggling new museums and galleries created in Britain in the last decade or so. Were they ever destined to be viable entities, or merely perceived by officials as symbolic of, or even bringers of economic and social regeneration?

All of which, perhaps, creates a new facet to the debate 'what is a museum.'

Sunday, July 29, 2007

Exhibition: Picasso Ceramics

Picasso Ceramics
The Attenborough Collection
New Walk Museum & Art Gallery, Leicester
On until 30th September 2007

Yesterday I took a stroll down to New Walk Museum to check out the Picasso exhibition, something which I had been looking forward to for a while. Well, what can I say? It was great, really enjoyable. The objects on display - donated by Lord Attenborough and his wife Sheila to the City of Leicester in memory of their daughter and granddaughter killed in the Asian Tsunami - are beautiful and engaging, belying the simplicity of their design and form. And there is something about ceramics which is immediately accessible, I feel. Perhaps it is the echoes of domesticity, despite that many of the examples on show are purely decorative? Nevertheless, I am certain that the choice of medium would enable many more people to engage with, or feel that they can engage with, Picasso's aesthetic approach.

And this is further enabled by the unobtrusive gallery fixtures and fittings. The clean lines and neutral colour palette (save for the occasional burst of colour punctuating the wall-mounted text panels) show the objects off to their best, without being clinical, or pretentious. In some areas of the galleries that house the exhibition (especially the larger of the two) the lighting is not up to much, but that's a minor irritation.

Normally when viewing an art exhibition I inevitably fall into the trap of assuming a detached persona (which I then actively seek to dismantle by behaving as one shouldn't ;)), but not this time. I was genuinely delighted and moved by several of the objects; no need to summon up enthusiasm here! The subjects have an immediacy that's very 'human'. In particular I loved the dishes and squat vases featuring goats (they are currently my most favourite animal), and the round plate of a female nude at the beach - her expression is just how I feel when I see the sea, kind of 'wahey! Sea!' (though I tend to keep my clothes on!).

All in all this exhibition is great and I highly recommend it. In fact I enjoyed it so much I forked out the £9.99 for the official catalogue (which is v glossy btw). And I can assure you, that don't happen very often. ;)

Conference Alert: Spaces of Memory

From H-Museum:

Spaces of Memory – Museums, Original Sites, Memorials
Jewish Museum, Vienna (Austria)
IC MEMO Conference and Annual Meeting
Meetings of the International Committees / 21st General Conference of ICOM
August 20-22, 2007

In co-operation with the Jewish Museum, Vienna


Program

Location
Jüdisches Museum der Stadt Wien GmbH, Dorotheergasse 11, A-1010 Wien


Monday, August 20, 2007

10:00 Welcome

10:15 Guided Tour
- Permanent Exhibition Jewish Museum, Dorotheergasse 11
- Permanent Exhibition Museum Judenplatz, Judenplatz 8
- Temporary Exhibition "Best of all Women. The Female Dimension in Judaism",
Jewish Museum, Dorotheergasse 11

13:00 Lunch

14:00 Guided Tour
- Temporary Exhibition Museum Judenplatz, Judenplatz 8
- Visiting "Jewish Vienna", including Vienna's Stadttempel, the Memorial
remembering the victims of the Shoah and the Memorial against Fascism

19:00 Reception, Jewish Museum Vienna
courtesy by the Jewish Museum Vienna


Tuesday, August 21, 2007

10:00 Annual Membership Meeting IC MEMO (with elections)

12:00 Guided Tour Temporary Exhibition "Archives of the Jewish Community"

13:00 Lunch
14:00 Conference Papers: "Universal Heritage and Remembrance"

Museums of the Holocaust – from shrines of the muses to shrines of the
memoir
Dr. Pnina Rosenberg, Oranim Academic College; Ghetto Fighters House Museum,
Israel

The Holocaust as 'lieux de mémoire' in Austria
Dr. Heidemarie Uhl, Austrian Academy of Science, Vienna

Difficulties with facing the past: Hungarian collective memory after the
system change
Dr. Monika Kovácz, Eötvös Loránd University, Faculty of Education and
Psychology, "Holocaust and social conflict studies" program, Budapest


Wednesday, August 22, 2007

07:30 Departure for the Excursion to the Mauthausen Concentration Camp
Memorial
and the Schloss Hartheim Memorial for the Victims of the Nazi Euthanasia,
Upper Austria (Oberösterreich)
(meeting point: Atlas Hotel, Lerchenfelder Strasse 1-3, 1070 Vienna)

10:30 Guided Tour Mauthausen Concentration Camp Memorial

13:00 Lunch

13:45 Departure Mauthausen

14:45 Guided Tour Schloss Hartheim Memorial

17:00 Departure Schloss Hartheim to Vienna

19:30 Arrival in Vienna

(For August 23, 2007 we are planning an "unofficial" visit to Budapest,
Hungary. For more information please contact the Secretary.)


Contact:
Dr. Felicitas Heimann-Jelinek
Chief Curator, Jewish Museum Vienna, felicitas.heimann@jmw.at
Dr. Jan Erik Schulte
Secretary/Treasurer IC MEMO, jan.e.schulte@t-online.de


CFP: (Collection) Material Possessions

From H-Museum:

Calls For Papers

(Collection) Material Possessions: The Objects and Textures of Everyday Life in Imperial Britain
Saint Joseph's University, Philadelphia, PA

Focusing on the materiality of everyday life in nineteenth-century Britain and its imperial possessions, this collection seeks essay submissions that move Victorian material studies beyond the museum to demonstrate how preoccupations with the shape and form of common household goods and domestic habits lay at the heart of Victorian-era debates about cultural institutions ranging from personal matters of marriage and family to the more overtly political issues of empire building. While existing scholarship on material culture has centered on nineteenth-century artifacts in museums and galleries, this collection shifts its focus to the practices of everyday life. Through prosaic habits of shopping, housekeeping, and child rearing as well as rituals of tea drinking, holiday excursions, and Christmas celebrations, Britons of all classes established, sometimes inadvertently, the tenets of domesticity as central to individual happiness, national security, and imperial hegemony.


As is now widely understood, however, the Victorians' sense of domestic
surety was by no means secure. The beauty products, advice columns, and
emigration pamphlets marketed toward middle-class spinsters after the census
of 1841 speak to the social and political functions of matrimony as a means
of cultural reproduction and to the ways that domestic matters impacted
colonial policy. Similarly, a perceived crisis of identity among the British
laboring classes prompted spectacular displays of industrial and imperial
wares in the Great Exhibition of 1851. In the Great Stink of 1855 noxious
effluvia from the Thames closed Parliament, raising further specters about
disease, urban planning, and household management at the heart of the
imperial metropole. We contend that studies of the material traces of these
and other less notable historical sites will provide significant links
between homes and museums, between household management and political agency
at home and in the empire, and between individual acts of conspicuous
display and collective pressures toward conformity. This materialist
approach amounts to a rethinking of Victorian cultural formation via the
domestic.

We see Material Possessions as addressing the political, economic,
psychological, and material practices that allowed nineteenth-century
Britons to reassert British identity in an imperial age and, in the process,
to refashion the most private aspects of England's public culture. We
anticipate analyses of key objects and practices, as well as a wide range of
literary and extraliterary sources, including novels, household manuals,
advertisements, illustrated newspapers, pattern books, song lyrics, street
maps, playbills, blueprints, scientific treatises, and government reports.
We especially encourage essays that use material studies to address the
stability and stabilizing structures of life at home, when home itself is
increasingly freighted by imperial sojourns, colonial return, class
conflict, and gender concerns. Submissions from English, history, art
history, anthropology, law, family studies, and other relevant disciplines,
as well as interdisciplinary analyses, are welcome.

Please direct questions or submissions of 1000- to 1500-word abstracts as
well as a short vita to both editors, Dr. Janet Myers, Elon University
(jmyers@elon.edu) and Dr. Deirdre McMahon, Saint Joseph's University
(deirdre.mcmahon@sju.edu).

The deadline for abstracts is October 15, 2007; the deadline for accepted
essays (approx. 5,000-8,000 words) will be March 15, 2008.

Thursday, July 26, 2007

Virtual Tour of the Ashmolean

I was dossing about on the Internet this afternoon, ostensibly - but rather half-heartedly - researching a book review I'm supposed to be writing at the moment, and I came across this. 360 degree panoramas of individual galleries at the Ashmolean that you can navigate around, zooming in and out on anything that catches your eye. You can even get close enough to nearly read individual labels. Go on - have a look. It's fabulous! Rather defeats the object of visiting the museum in person, but as someone not keen on travel, this kind of access suits me down to the ground!

(Requires Apple's QuickTime for Mac OS or MS Windows)

Conference Alert: World Art: Ways Forward

From H-ArtHist:

WORLD ART : WAYS FORWARD

Sainsbury Centre for Visual Arts
University of East Anglia, Norwich

September 7 and 8, 2007

You are invited to a major international conference on one of the most urgent issues facing all those concerned with the study, preservation and display of art.


None of the disciplines and institutions that frame our study of
visual and material culture were designed to deal with art as a
worldwide phenomenon with a forty thousand year history. Given art’s
variety across time and space and the powerful interest it evokes
globally, this situation is increasingly seen as unsatisfactory. As
a result, practitioners of academic disciplines such as archaeology,
anthropology, art history, visual culture studies and museology, and
the staff of institutions such as museums, galleries and biennales,
are seeking to create a new context for discussion and action.

This conference brings together some of the leading voices in this
emerging debate. Some will speak on behalf of their institutions
and disciplines, others more personally. The issues they raise will
be both theoretical and practical. They are of direct concern for
anyone seeking to understand, explain or otherwise present art as a
worldwide phenomenon. They should also be of concern to the most
focused specialist in the art of Europe or anyother region, since the
art of any particular place and time yields more interest and
information when related to the totality of artistic behaviour. All
art has greater significance when thought of as ‘World Art’.

Whatever the conclusions of individuals on this and other topics, the
ideas and data brought to the conference and disseminated from it are
likely to influence the practices of those working in universities,
museums and other institutions worldwide in the years to come.
They will affect everybody’s experience of art.


Organised by John Onians email: j.onians@uea.ac.uk 01603-610195

To register contact Shawn Alexander
email: s.alexander@uea.ac.uk
01603-592286


Conference Programmme

Friday September 7th


Ways Forward in the Museum

11.00 Neil MacGregor, British Museum
11.30 Ivan Gaskell, Harvard University Museums,
12.00 Germain Loumpet, University of Yaounde
12.30 Discussion
1.00 Lunch

Ways Forward in the University

2.00 Craig Clunas, Oxford University
2.30 Nicholas Thomas, Cambridge University
3.00 Whitney Davis, University of California, Berkeley
3.30 Sandra Klopper, Stellenbosch University
4.00 Tea
4.30 Akira Akiyama, Tokyo University


Ways forward in the University: World Art Studies

5.00 John Mack,University of East Anglia
5.30 Kitty Zijlmans, Leiden University
6.00 Discussion

6.30.Reception
7.30 Conference Dinner SCVA Restaurant

Saturday September 8th


Ways Forward in the Disciplines

10.00 Wilfried van Damme, Leiden University
10.30 Susanne Kuechler, University College, London Coffee
11.00 Coffee
11.30 Thomas da Costa Kaufmann, Princeton University
12.00 John Onians, University of East Anglia
12.30 Discussion
1.00 Lunch

Personal Ways Forward

2.00 David Carrier, Case Western Reserve University
2.30 Yiqiang Cao, China National Academy of Art, Hangzhou
3.00 Terry Smith, University of Pittsburgh
3.30 David Summers, University of Virginia
4.00 Tea
4.30 Discussion
5.00 Views and opinions from the audience
6.00 Final Reception
7. 00 Hot buffet supper

News: Srebrenica Memorial Room opens in Bosnia Herzegovina

From H-Museum:

The Srebrenica Memorial Room - a museum-type memorial space created with expertise from the Imperial War Museum - can now be visited opposite the Srebrenica-Potocari Memorial and Cemetery in Bosnia Herzegovina.

The idea for the Memorial Room was proposed by Lord Ashdown, former High Representative in Bosnia-Herzegovina, who visited the Imperial War Museum London's Holocaust Exhibition and felt that 'something similar was needed at the Srebrenica Potocari Cemetery' to narrate the events of July 1995, when over 8,000 Bosnian Muslim men and boys were murdered following the taking of Srebrenica by Bosnian Serb forces.

Sited in the Battery Factory - the former HQ of the UN Dutch Battalion and opposite the Cemetery, which was dedicated by President Clinton in 2003, the Memorial Room describes the fall of Srebrenica and the desperate efforts of Bosnian Muslims to seek protection in the UN base manned by the Dutch Battalion (Dutchbat) at Potocari. Over 8,000 Bosnian Muslim men and boys were subsequently murdered in mass shootings in nearby schools and fields or during attempts to reach safety in the free territory of Tuzla by foot.

Suzanne Bardgett, Director of Imperial War Museum London's Holocaust Exhibition, has provided curatorial and other advice to the Bosnian team charged with making this sensitive memorial space.

The Memorial Room was designed by the Sarajevo-based architectural collective .arch and consists of two black towers - one presenting a continuously-running film, the other containing twenty showcases telling the stories of twenty of those who died.

Visitors can view cigarette lighters, tobacco tins, keys, photograph albums and other personal effects excavated from mass graves over the last ten years, and identified by the forensic criminologists of the International Commission for Missing Persons. These tiny fragments help tell the stories of the men and boys who perished in a variety of terrible situations.

The film was directed by British documentary maker, Leslie Woodhead, who made the award-winning two-hour documentary about the massacre, _A Cry from the Grave_, in collaboration with Bosnian film-maker Muhamed Mujkic, who has over the last ten years recorded the excavation of numerous mass graves for the Federal Commission for Missing Persons.

The project has been funded by the UK's Foreign and Commonwealth Office, the Netherlands Government and the Foundation for the Srebrenica-Potocari Memorial and Cemetery. It has been overseen by the Chairman of the Foundation's Executive Board, Beriz Belkic.

Visiting information:

Telephone: (+ 38) 733 218 660

Wednesday, July 25, 2007

Museologists versus the museum profession?

I read this article in the Observer over the weekend. It's good to see museums being provocative and feeding into wider political and social debate. The great potential of museums, as far as I see it, is their fairly unique role in the creation of shared knowledge and identity. I have always imagined that they really can make a difference by challenging and confronting difficult issues. But am I just being a little naive? I completely realise that the reality at most institutions is a tad more conservative (with a small 'c'), necessarily, because of financial and, perhaps more pertinently, funding considerations.

I've always been aware of the perception that Leicester grads are a little radical in their approach to museums (just an impression formed by comments made to me by interviewers, etc!). Personally I feel that's something to cling to and be intensely proud of, but it begs the question, how are we museologists perceived by the museum profession? Are we imagined to be idealistic creatures firmly ensconced in our ivory towers, detached from the realities of the everyday grind? Or, does the research we produce (eventually?) filter down and effect changes? You may be able to tell that I'm struggling with the future 'usefulness' of my current research, i.e. exactly what is the point of putting myself through this hell?!! ;) Any comments/observations gratefully received.

As an aside...

You may remember that a little while back Gilbert & George made one of their creations, 'Planed', available to download. Well, I've finally moved and got a spare bit of wall space to 'hang' it. Whaddya think?



It took a lot of careful cutting out (round the edges of each section), positioning and sticking with Sellotape. I don't think I did too badly! Whether it is an attractive edition to my wall, well, the jury's still out.

Monday, July 23, 2007

Dubrovnik Global Heritage Forum: Reclaiming Cultural Property

From H-Museum:

Dubrovnik Global Heritage Forum
28. September 2007

Key Topic: Reclaiming Cultural Property

Hosted by ICOM Europe THE BEST IN HERITAGE, Dubrovnik, 27-29 September 2007

Summary
Dubrovnik, Croatia, is a world heritage site and is the venue for the annual conference "The Best in Heritage", taking place this year from September 27 - 29, 2007. In the framework of this conference, the "Dubrovnik Global Heritage Forum" will be - for the first time - a summit of the world's leading Heritage Organizations. The event is hosted by ICOM-Europe on September 28, 2007. Key topic of the following panel discussion will be "Reclaiming Cultural Property". For information and registration please contact: www.thebestinheritage.com

1. The Initiative
Issues concerning cultural heritage and the preservation of cultural
property are slowly gaining more attention and recognition throughout the
world. There is, though, a serious lack of knowledge and understanding about
the important role, that international heritage organizations play in this
field. Unfortunately the activities of these organizations are seldomly
coordinated, due to an unsufficient transfer of information and little
mutual consultation. Therefore the European Heritage Organisation, based in
Zagreb, Croatia, proposes an annual meeting of high representatives of
heritage organizations to take place as the Global Heritage Forum in
Dubrovnik, Croatia. Such a meeting would be unique in the world and enable
participants to discuss all matters concerning global strategies for the
preservation, care and communication of cultural heritage.

2. The Event
As an ideal setting for the Dubrovnik Global Heritage Forum, the European
Heritage Association suggests to integrate it into its annual conference
"The Best in Heritage" (27. – 29. September 2007) that has been taking place
in Dubrovnik for five years now. (see: www.thebestinheritage.com ) The
conference has become a remarkable event of inspiration and encounter, each
time gathering about 20 museum, heritage or conservation projects from all
over the world, that have received, in the preceding year, national or
international prize for their outstanding achievements. The presentations of
these projects are attracting more and more visitors each year (135 in 2006,
from 25 countries). A documentation of "The Best in Heritage" is being
provided in conference publication, on its website and an excellent
interactive DVD with 20 hours of programme. The web site has become a unique
searchengine for the best practices and quality in heritage domain.

The Dubrovnik Global Heritage Forum will take place on the second day of the
conference "The Best in Heritage" and consists of two major events: 1. A
consultative meeting of high representatives of the world's heritage
organizations, 2. A forum discussion with representatives of the heritage
organizations and experts focussing on a key issue.

3. The key issue
The key issue of the 2007 Dubrovnik Global Forum will be "Reclaiming
Cultural Property".
With the ratification of the UNESCO Convention for the Protection of
Cultural Diversity in more and more countries throughout the world the
awareness for the preservation of sites of cultural heritage and collections
has increased. When it comes to questions of restitution, though, the debate
often turns very emotional, lacks professional insight and ethical
standards. ICOM's focus on mediation and the enhancement of dialogue with
museums in countries or areas, that have lost a significant part of their
heritage, is promising. The return of the Aksum obelisk to Ethiopia by the
Italian government was a symbol of hope. Having in mind the looting of the
National Museum in Baghdad or the Museum of Macedonia in Skopje we should
realize, though, that this is happening today, not in colonial times.
Therefore the theme "Reclaiming Cultural Property2 will gather
representatives of heritage organizations and experts to discuss in which
way illicit traffic of cultural property can be prevented and how a new
understanding of universal cultural heritage may reshape the approach to
questions ofexclusive ownership.

4. The partners
The European Heritage Association has acclaimed patronage and support for
"The Best in Heritage" event by ICOM, UNESCO (Venice office), Europa Nostra,
ICOMOS, ICCROM and the City of Dubrovnik, a world heritage site. With the
Dubrovnik Global Heritage Forum it wishes to extend its partnerships in
order to make it a regular summit of international importance. ICOM supports
this innitiative, whereas ICOM-Europe has agreed to be the host of this
event. Therefore the European Heritage Association and ICOM-Europe jointly
offer heritage organisations worldwide a platform, on which they can discuss
and raise issues ofglobal concern. And as you know: Heritage counts.

Prof. Tomislav Sola
Director
European Heritage Association
director@thebestinheritage.com

Ever fancied taking an extended break from that damned PhD?

PhD getting you down, or just fancy doing something different for a bit? Don't think of it as failure! Take solace and inspiration from this story. ;)

Sunday, July 22, 2007

CFP: Photographic Proofs

From H-ArtHist:

CALL FOR PAPERS

Photographic Proofs

Yale University, New Haven, CT
Friday-Saturday, April 4-5, 2008

"A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what's in the picture." -
Susan Sontag

"But the proof of the pictures was in the reading. The photographs had to have their status as truth produced and institutionally sanctioned." -
John Tagg

The Yale University Photographic Memory Workshop, in conjunction with the Beinecke Rare Book and Manuscript Library at Yale, invites submissions for a graduate student conference entitled "Photographic Proofs." The theme of this conference should be interpreted broadly. Papers could be theoretical, historical, or critical explorations based upon one photograph or a collection of photographs. They might interrogate the theme of photographic proofs from one of many different angles, including documentary, artistic, commercial, and vernacular photography. Selected sets of photographs may relate to war, science, medicine, race, class, law, business, reform, the natural and built environment, frontiers, performance, gender, sexuality, or family, among other subjects.

In order to engender an inter-disciplinary community and to further
challenge and develop the vocabulary that surrounds photographic
criticism, we encourage submissions from graduate students at all stages
of their studies, working in any discipline. The Beinecke Library will add
to this discussion by hosting a workshop for conference participants
highlighting the library's extensive photographic holdings.

We are pleased to announce that Professor John Tagg will deliver the
opening keynote address. John Tagg is Professor of Art History and
Comparative Literature at Binghamton University. His books, which often
focus on the relationship between photography and power, include The
Burden of Representation: Essays on Photographies and Histories, Grounds
of Dispute: Art History, Cultural Politics and the Discursive Field, and
the forthcoming The Disciplinary Frame: Photographic Regimens and the
Capture of Meaning.

In an effort to foster a geographically diverse community of graduate
student presenters, we are pleased to be able to cover travel and
accommodation expenses for students whose papers are selected.

Email CVs and abstracts to photographic.proofs@yale.edu by Monday, October
15. Abstracts should be under 300 words. Final papers should not exceed 20
minutes in length. We will notify selected speakers by December 15.

Co-organizers: Alice Moore and Francesca Ammon, graduate students in
American Studies. Please address any questions to
photographic.proofs@yale.edu.

Francesca Ammon Graduate Student, American Studies Yale University
francesca.ammon@yale.edu

Saturday, July 21, 2007

CFP: Visiting the Past, Meeting the Limes

From H-Museum:

International Symposium on Heritage, Tourism, Planning and Design Practices

Visiting the Past, Meeting the Limes

Central Museum, Utrecht, the Netherlands
11-12 October 2007

Without any doubt, artefacts from ancient times are highly attractive for the tourism sector. Because of their uniqueness, archaeological sites, historical ruins, monuments, landscapes and their narratives all figure on the itineraries of tour operators and are therefore widely, if not massively, visited by tourists.

Although the interest of such a large audience has become an accepted fact and phenomenon, debates between the disciplines related to heritage on one hand and the industry of tourism on the other are becoming all the more intense, if not conflicting, as to how to interpret heritage and to integrate it socially, historically and economically in our contemporary societies. That is why Wageningen University, the University of Leuven and the Dutch Project Organization Limes, with the cooperation of GAIA-heritage, are organizing a two-day symposium entitled 'Visiting the Past, Meeting the Limes'.

Aim
The aim of the Symposium is to gather experts from a wide disciplinary background and to acquire, through presentations, discussions and workshops, a better knowledge and understanding of the multiple meanings and uses of heritage today. The various stakeholders, whether tourists, planners, local residents, archaeologists, historians, local and international entrepreneurs, or landscape and urban designers have different interpretations and make different usage of heritage. For some, it is a subject of scientific research, for others a means of livelihood, a symbol of identity, of belonging, etc.

The conference intends to explore and debate the ways in which planning and design practices can optimize meanings and uses, thereby satisfying stakeholders’ diverging interests. In addition, this event aims at producing an interdisciplinary research agenda on tourism and heritage and to create a professional network to promote further research and knowledge sharing.

The Limes
To support the theoretical, policy, and practice presentations, special attention will be granted to the archaeological remains of the Limes, the defense lines at the borders of the Roman Empire. The Limes runs from the United Kingdom, through North and Central Europe, and resumes in the Middle East and North Africa. They offer interesting contrasts across countries for the purpose of the Symposium. In the Netherlands, for example, very little is still visible; barely more than a 'landscape narrative' carefully embedded in landscape design and linked to recreational policies and place-making. By contrast to the Dutch Limes, the remains in Jordan are substantial but isolated in the desert close to the Iraqi and Syrian borders. Despite their importance, they lack proper conservation measures and adequate tourism infrastructure. In the United Kingdom, the Hadrian Wall is a top-end tourist attraction and is intentionally well integrated into the landscape.

As historical landmarks of the past and tourist sites of the present, the Limes remains highlight a wide spectrum of protection practices and valorization methods for tourism use of common heritage sites that are of a similar nature and type but located in different regional, cultural, political, economic, and scientific protection conditions and contexts. In turn, the Symposium, through the presentations, discussions and workshops, will explain the differences in meaning and consequently suggest and explore measures and methods of protection and presentation to tourism. This comparative approach will provide debate topics to understand and explore further optimal matches between tourism and heritage.



Program of the symposium
The symposium will take place over two full days. The first day will be dedicated to the plenary sessions and the second to three or four specialised workshops. Each day will be concluded by a plenary discussion in which possible research themes and other collective activities for the future are explored.


Thursday 11th October 2007
Visiting the Past: plenary lectures on context and perspectives

The first day of the symposium consists of 3 plenary sessions on the presentation of heritage from:

a) the archaeological perspective,
b) the perspective of the tourism industry and the tourists,
c) the perspective of use, spatial panning and design.

Every lecture is followed by an open discussion between a multidisciplinary forum of 6 experts (representing the fields of archaeology, tourism, sociology and planning and design) and the Symposium audience. The lectures and discussions will be synthesised and collected into a working document, which will be used as input for the workshops of the second day.


Friday 12 October 2007
Presenting the (in)visible: multi-disciplinary workshops

The second day will consist of 3 workshops and a final plenary discussion. The workshops are all related to questions concerning the conservation, (re)presentation and tourismification of the remains of the Limes. Each workshop will focus on the Limes in a different country and therefore discuss how planning and design, including for tourism, should respond the local context, state of conservation of heritage, issues of enclosure and reconstruction, and heritage awareness whether in the Netherlands or Morocco.


Call for written statements

More than a series of lectures and discussions, the Symposium aims to be interactive by promoting participants’ ideas and thoughts on the themes of heritage conservation, tourism, planning and design. We therefore strongly encourage all participants to send us a statement of 750 words maximum prior to the Symposium. These statements should be indications, suggestions or straight answers to questions outlined below. It goes without saying that a statement may contain other issues than those raised below.
The collected statements will be distributed before the start of the conference to all participants. During the workshops participants can explicitly refer to their own statements or that of others’, clarify or discuss these ideas and use them to comment on the presented lectures or case-studies.
The collected statements will be summarized in the proceedings, with ample reference to the authors. They will serve as a stepping stone to structure the research and international cooperation agenda. The authors of selected statements will then be asked to elaborate them into full research papers for a specialized publication.

The statements must be sent to the organizers at info@thepast.nl before September 22, 2007.
The suggested questions are:
1. In your opinion, what is the main challenge for the careful integration between heritage conservation, local and regional identity and the development of tourist sites?
2. According to you, is it better to combine multiple heritage meanings (expert, local, dedicated and superficial visitors) in every tourist project/site or to push for the
specialisation and differentiation among sites according to particular interests (uniqueness,place identity, tourist product opportunities, etc.)?
3. How can planning and spatial design be used to embed a tourist heritage site within the wider spatial, institutional, multifunctional, socio-cultural and symbolic context?
4. Can landscaping and design contribute to the experiential and narrative qualities of tourist heritage sites and, if so, how?
5. In keywords: what do you consider to be the three most important research issues in the relationship between heritage conservation, tourism promotion and local/regional identity?


Venue
Central Museum Utrecht

Registration
Registration is now open and so until the 1st of September 2007.
Included in the Registration fee: participation in sessions, colloquium documentation, lunches, dinner.
REGISTRATION FEE: € 190

Registration form
You can download the registration form here in Word format or PDF format (http://www.thepast.nl/DOCS/Registration%20Visiting%20The%20Past_2007.doc) and send it to us by e-mail.

For additional information please contact:
Dr. Marlies van Hal
Socio-Spatial Analysis Group
Wageningen University
Tel: 0031 317 785092
e-mail: info@thepast.nl

Address:
Doevendaalsesteeg 3
GAIA building (building number 101)
P.O. Box 47
6700 AA Wageningen
The Netherlands

Webpage:
www.sal.wur.nl/UK/Staff/vhal/

CFP: Commonplace Yet Extraordinary

Call for Papers

Commonplace Yet Extraordinary: Design Histories of Everyday Objects
Hagley Museum and Library, Wilmington DE
May 16, 2008

Sponsored by the Center for the History of Business, Technology, and Society
at the Hagley Museum and Library, Wilmington, Delaware

Biographies of everyday objects are a burgeoning area of study in design
history, and are well supported by Hagley's growing collection of designers'
papers including those of Raymond Loewy, Marc Harrison, Thomas Lamb and
Richard Hollerith.

We invite scholars pursuing innovative research in this area to submit paper
proposals for a symposium on Friday May 16, 2008. The symposium's theme is
the histories of design processes that created everyday objects, such as
appliances, tools, equipment, and miscellaneous things commonly used in
homes, offices, factories, and public spaces. We discourage proposals on
motor vehicles, clothing, furniture, or buildings. Papers should be
historically grounded and analyze the interactions between designers,
producers, and users. Perspectives from history, art history, design
history, sociology, material culture studies as well as other disciplines
are welcome.

Paper proposals are due by December 1, 2007 and should consist of a short cv
and an abstract of no more than 500 words.

Presenters' travel expenses will be covered by Hagley.

Send proposals to Carol Lockman, email: clockman@Hagley.org, fax
302-655-3188, or Hagley Museum and Library, PO Box 3630, Wilmington DE 19807

Monday, July 16, 2007

CFP: European Identity and the Second World War

From H-ArtHist:

Call for Papers and Sessions

'European Identity and the Second World War' is a co-operative project between the Huizinga Research School (NL) and Aarhus University (DK), generously supported by the Dutch Research Council NWO, and co-ordinated from the Department of European Studies at the University of Amsterdam.

The Organizing Committee is now pleased to announce the final conference of the project on 10-11 December 2007, and invites proposals for papers and sessions from any academic discipline which will fit the themes of the conference, as outlined below. Proposals from art historians, historians, literature and film specialists, anthropologists, psychologists, and philosophers are particularly welcome.


Keynote addresses will be delivered by i.a. Norman Davies (Oxford), Jay Winter (Yale), and Joep Leerssen (Amsterdam)

Proposals for papers of 20 minutes, in the form of a title and 300-word abstract, should be should be sent by 1 September 2007 to the Chair of the Organizing Committee (address below), from whom further information is also available. (Session proposals of three or more papers are also welcome.) Text in English, please.

Our website, http://www.europeanidentityww2.org/index.php?m=project also contains all current information, and will be updated for registration details.


THEMES OF THE CONFERENCE:

(see further details overleaf)

1. Political ideas and legacies

2. The impact of the War in visual media

3. Reactions in the various literatures of Europe



ORGANIZING COMMITTEE Please contact:

Professor Michael Wintle, Chair
Tel. 0031(0)20 5252280

Department of European Studies
Fax. 0031(0)20 5254625

University of Amsterdam
E-mail: m.j.wintle@uva.nl

Spuistraat 134
1012VB Amsterdam
Netherlands


THEMES OF THE CONFERENCE:

In addition to plenary lectures, there will be parallel sessions organized within three strands, as follows:

1. Political ideas and legacies, international relations, and plans for a new Europe, all concentrating on the reactions to the disasters of the War.

* The laboratory of ideas in the 1939-48 period

* The role of the Council of Europe, human rights

* Popular reactions to the E-institutions in the 1960s; nationalism reformulated

* Changing European borders, especially to the East

* Europe and Communism, the Cold War

* The Jewish community and Europe

* The US and Europe

* The role of decolonization



2. The impact of the War on the European idea in visual media

* Filmic treatments of World War II in Europe and Hollywood

* Architecture and public space

* Graphic art, high and low, in reaction to war in Europe

* Europe propaganda (posters, cartoons)

* Visual aspects of remembrance and memory of war



3. Reactions in the various literatures of Europe to the war and its aftermath.

* Literary remembrance of war

* Comparisons of World Wars I and II

* Literary magazines and the European idea

* Literary intellectuals and the idea(l) of Europe

* Reactions in European literatures (especially UK, France, Germany and Scandinavia)

The Organizing Committee expects to publish an edited selection of the papers presented.


THE UNIVERSITY OF AMSTERDAM
DEPARTMENT OF EUROPEAN STUDIES
INTERNATIONAL CONFERENCE

European Identity 1939-c.1970:
the Impact of the Second World War
10-11 December 2007

CFP: The Artist as Collector in the Eighteenth Century

From H-ArtHist:

American Society for Eighteenth-Century Studies, Annual Conference,
Portland, Oregon, March 27-30, 2008.

The Artist as Collector in the Eighteenth Century

This session will advance the study of the history of collecting by probing issues associated with the under-explored role of artists as collectors, specifically the unique relationship between their artistic identities and their own art collections. Artists frequently amassed notable and multi-faceted collections, which have been historically overshadowed by more aristocratic collections as well as artists' own professional pursuits. Their collections functioned on both public and private levels as sources of artistic inspiration, symbols of status and taste, and pedagogic resources. Their collections asserted their aspirations, talents and predilections, and reflected the vicissitudes of the market. While the history of collecting is a well-researched (though still developing) field, the history of artist-collectors, with a few notable exceptions (e.g., Rubens), remains largely overlooked.

This panel will address issues regarding complex and often contradictory roles played by artist-collectors in the eighteenth century. Topics may include: various functions of artists' collections; artists' collections in relation to others; composition and conscious fashioning of artists' collections; use of the collection as a tool for self-promotion; artists' tastes and how they informed their collecting; rivalry among artist-collectors; use of artists' provenance in building a history of quality and taste; the public's perception and interpretation of the collection; effects of art market supply and demand; artists' attributions of works in their collections; and the role of artists' collections in the development of museums. Art, politics, economics, and social issues are among the subjects bought together in this session, making it ideal for this interdisciplinary conference. This standard-format panel will represent artists of multiple nationalities and embrace a variety of methodologies and types of collections.

Please send abstracts by September 15, 2007, to Kaylin Weber
(kweber@mfah.org) and Leslie Scattone (lscattone@mfah.org).
For more details, see http://asecs.press.jhu.edu/2008annualmtg.htm .

Thank you,

Leslie Scattone and Kaylin Weber

Saturday, July 14, 2007

Digital Recording Devices

Gathering field data can be nerve-racking. Suddenly, you are no longer in a safe place with books and journals, you are exposed to the real world, need to explain yourself to complete strangers and record data essential to further success in your PhD. At least, that is how I felt when faced with the prospect of recording interviews with museum staff and visitors at my case study locations. I knew that I needed a reliable recording device but was not sure where to go for advice.

A digital recorder from the department helped me test sound quality and ease of use with Jim Roberts' advice but I knew I had to buy my own. But which one? An office manager of a well-funded legal company said Olympus was the brand to trust, in fact, the only brand in town. The Olympus site provided specific information and I finally purchased an Olympus Digital Voice Recorder DS-30 at about 100 pounds including postage from Dabs. The post office lost it for a few days but they found it just in time.

The DS-30 is the lowest spec in this quality of sound recording (DS-40 and DS-50 offer greater memory size). I have found that the memory for the DS-30 which is 17 hours for medium quality sound is very suitable for person to person interviews.

The stereo microphone can be detatched from the device with a separate accessory for placing in the centre of a table, but I have not found this necessary. When I first unpacked it, I was disappointed with its small size and light weight (Is that all I get for 100 pounds?) but its size means people forget that it is there and it is light to carry.

It comes with its own software that allows you to download and store the recordings on a PC (and back them up) and this is very easy to install and use.

But most importantly, it does an excellent job of recording voices which is what you want it to do. My first interview took place over a cup of tea in a room with a stone floor and a loud airconditioning system. It was with some concern that I played back the interview. No problem. The interviewees voice (and mine... did I really sound like that?) came over loud and clear. The device came through a greater test in the next interview at Pret a Manger against a background of baristas, expresso machines and boho musak. It seems museum staff like to mix interviews with coffee breaks and the Olympus DS-30 is up to the challenge.

Tuesday, July 10, 2007

William Morris Gallery: Facebook campaign

Our regular readers will remember Ceri and I getting our knickers in a twist about the proposed cuts to the William Morris Gallery in Walthamstow. The campaign to save the museum and its 'sister' institution Vestry House, is still very much alive, and a Facebook group has recently been set up for the social networking site's users to register their support. If you're already a Facebook account holder, search for 'Save the William Morris Gallery'. All are welcome to join. (With thanks to the official campaign website.)

Which reminds me, The Attic has its very own Facebook group! Regular readers - who are also students of museology, or allied subjects - are invited to join. I have this halcyon vision of it becoming a locus of furious, but good-natured, museological debate and equally vociferous networking! Again, if you would like to join, search for 'The Attic' and click the 'Join this group' button.

Saturday, July 07, 2007

Conference Alert: Public Views of the Private

From H-ArtHist:

Visual Studies presents:

2007 Conference of the International Visual Sociology Association
Public Views of the Private; Private Views of the Public

August 10-12, 2007
New York University, New York, USA

Keynote speaker: Martha Rosler

Cultural forms, social institutions, and power structures always frame private and public realms. Recent research suggests that the relations and borders between public and private are rapidly changing. Technological developments, changing social mores and folkways, cross-cultural perspectives, urban conditions, and advancing communication media seem to be breaking down borders or making them more permeable. Visual Sociology provides useful tools for investigating and interpreting the complexity and interpenetration of public and private realms; making visible intersections, historical legacies, and cross-cultural processes. Art, photography, film and video as well as careful observation can depict local communities and global society and elucidate social cohesion and social conflict.


Visual researchers also construct their own images and interpretive
narratives elucidating and questioning "the image" of public views
and private views. The conference will present a wide variety of
formats including video, poster sessions, installations,
performances, photo exhibits, and multimedia presentations as well as
traditional papers.

Join us at the 2007 conference by registering here:
www.visualsociology.org/conference.html

Taylor & Francis Group
London Oxford Beijing Boca Raton Johannesburg Melbourne New
Delhi New York Oslo Philadelphia Singapore Stockholm
UK Head Office: Taylor & Francis, an Informa Business, 2-4 Park
Square, Milton Park, Abingdon, Oxfordshire OX14 4RN
Informa plc ("Informa") Registered Office: Mortimer House, 37-41
Mortimer Street, London, W1T 3JH. Registered in England and Wales -
Number 3099067.

Wednesday, July 04, 2007

CFP/Publications: Mundane Stuff

From H Material-Culture (note the short deadline):

From: Phillip Vannini [mailto:Phillip.Vannini@RoyalRoads.ca]

I am seeking proposals of original writings for a forthcoming edited book tentatively titled: "Mundane Stuff: Ethnographic Approaches to Technology as Material Culture." The deadline for proposal submission is September 1, 2007. Completed chapters would be due some time in the
spring of 2008. Serious publisher interest in this book has already been expressed. The writing is intended to be classroom friendly, though the intended audience is comprised mainly of graduate students and scholars.


Studying technology as everyday life material culture means demystifying
technology and approaching technics (i.e. material objects) and
techniques (i.e. tactics, strategies) as pragmatic ways of attributing
meaning to the world while simultaneously shaping it and being shaped by
it. Such as an approach calls for reflexive, creative, situated
ethnographic research strategies which employ both abstract
interdisciplnary knowledge and mundane practices of meaning-making while
attempting to understand both users and material objects.

I am seeking three types of proposed chapters.
1. Theoretical chapters which provide both an overview and
reflection on one of the following analytical perspectives on technology
as everyday life material culture: symbolic interactionism,
actor-network theory, cultural studies (broadly defined), and
phenomenology. Required length: 5,500 words.
2. Methodological chapters which offer both overview and reflection
on the ethnographic study and representation of technology as material
culture from the angle of one of the following approaches: performance
ethnography, visual ethnography, narrative ethnography, analytical
ethnography. Required length: 5,500 words.
3. Empirical chapters which focus on the reporting of original
ethnographic research on technology as material culture. Possible
topics are limitless. For example, they may include the study of
domestic objects, means of transportation, clothing and other
body-modifying/adorning objects, workplace objects, toys, landscape,
etc. Approximate required length: 7,500 words.

If you are interested please submit a tentative title, 100/150 word
abstract, and author bio to Phillip Vannini:
Phillip.Vannini@Royalroads.ca
or simply contact me to discuss ideas or ask for more information.

Phillip Vannini, PhD
Assistant Professor
School of Communication and Culture
2005 Sooke Road
Royal Roads University
Victoria BC V9B 5Y2
CANADA
Phone: (250) 391-2600 ext. 4477 (no voice mail)
Fax: (250) 391-2694



Conference Alert: Plaster Casts

From H-ArtHist:

International Conference at Oxford University

24-26 September 2007

PLASTER CASTS:
MAKING, COLLECTING AND DISPLAYING FROM CLASSICAL ANTIQUITY TO THE PRESENT

Building on the strong response to the study day Plaster Casts: making, collecting and display (University of Reading, October 2005), this conference will bring together an interdisciplinary community of scholars interested in plaster casts and their various functions from classical antiquity to the present day. Sessions will address issues relevant to archaeologists, classicists, art historians, cultural historians, museologists and conservators from teaching institutions, and museums.


The conference is generously supported by the Elizabeth Cayzer Charitable
Trust and Oxford University (Craven Committee, Fell Fund, Classics Faculty,
History Faculty, and Worcester College).

For further information and booking facilities please visit:
http://www.plastercasts.org/index.htm


PROGRAMME

Sunday, 23 September

2:30 - 6:30pm. Excursion to Aynhoe Park. Departure from Gloucester Green
Bus
Station, at Worcester College, Oxford.

7:00 - 8:00pm, reception in Worcester College and registration.

Monday, 24 September 2007
9:00 Registration


Opening session Chair: Donna Kurtz (Beazley Archive, Oxford)

9:30 R.R.R.
Smith (Ashmolean Museum, Oxford), Classical Sculpture and the
Cast of the Aphrodisias Fisherman. Casts and antiquity
9:50 Rune Frederiksen (Ashmolean Museum, Oxford), Plaster Casts in
Antiquity.

10:10 Christa Landwehr (Freiburg), The Baiae Casts and the Uniqueness of
Roman Copies.
10:30 Discussion
10:50 Break

The European nobility and plaster casts in the 16th- to 18th centuries
Chair: Eckart Marchand (University of Reading)
11:10 Walter Cupperi (Scuola Normale Superiore di Pisa), Multiple Castings
and the first princely collections of casts from the antique.
11:30 Martin Biddle (University of Oxford), '...makinge of moldes for the
walles...' the stuccoes of Nonsuch: materials, methods, and origins.
11:50 John Kenworthy-Browne (London), The Duke of Richmond' Gallery at
Whitehall.
12:10 Christoph Frank (Università della Svizzera italiana, Accademia di
Architettura, Mendrisio), Under Winckelmann's Spell: Presence and
Purpose of Italian Plaster Casts in 18th-Century German and Russian
Collections.
12:30 Discussion
12:50 Break

Production and distribution of casts Chair: Valentin Kockel (Universität
Augsburg)
14:00 Jan Zahle (Copenhagen), Laocoon in Scandinavia' uses
and workshops 587 onwards.
14:20 Charlotte Schreiter (Humboldt-Universtät zu Berlin), Moulded on the
Best Originals of Rome - 18th Century Production of Plaster Casts of
Antique Sculptures and their Trading in Germany.
14:40 Michael Neilson (British Museum), A Lasting Connection: A history of
mould making and casting within the British Museum.
15:10 Discussion
15:30 Break

Academies and plaster casts
Chair: Malcolm Baker (University of Southern California)
16:00 Tomas Macsotay (University of Amsterdam), Plaster Casts and Memory
Technique: The Display of Cast Collections after the Antique in the
French Academies of Paris and Rome (1658-1793).
16:20 Claudia Sedlarz (Akademie der Natur- and Geisteswissenschaften,
Berlin-Brandenburg), The Collection of Plaster Casts of the Berlin Academy
of Arts 1786-1820.
16:40 Elizabeth Fuentes Rojas (Escuela Nacional de Artes Plásticas,
Universidad Nacional Autónoma de Mexico), Art and Didactics in the
Plaster Cast Collection of the Mexican Academy of San Carlos.
17:00 Discussion

Tuesday, 25 September

Artists and plaster casts I
Chair: Greg Sullivan (Ashmolean Museum, Oxford)

9:30 Leon Lock (University College London and the Low Countries Sculpture
Society), Picturing the use, collecting and display of plaster
casts in 17th and 18th -century artists; studios in Antwerp and
Brussels.
9:50 Martha Gyllenhaal (Temple University and Bryn Athyn
College), Rembrandt's artful use of plaster casts: New Insights into
seventeenth-century studio practices and working methods.
10:10 Johannes Myssok (Universität Münster, Germany), Modern Sculpture in
the making - Antonio Canova and plaster casts.
10:30 Jean-François Corpataux (Université de Fribourg, Switzerland), Life
Casts as 'maternal devotedness'; in the studio of Marcello.

10:50 Discussion 11:10 Break

Artists and plaster casts II
Chair: Jonathan Wood (Henry Moore Institute, Leeds)
11:40 Sharon Hecker (Milan), Shattering the Mold: Medardo Rosso and the
poetics of plaster.
12:00 Maria Elena Versari (Scuola Normale Superiore di Pisa), 'Impressionism
solidified' Umberto Boccioni's plaster
casts and the definition of modernity in sculpture.
12:20 Sue Malvern (University of Reading), Outside in: The after -life of
the plaster cast in contemporary culture.
12:40 Jane McAdam Freud (Artist/Sculptor, London), Inside out as
process for production - making positive and negatives casts for coins,
medals and reliefs.
13:00 Discussion
13:20 Break

Chair: Daniel Bone (Ashmolean Museum, Oxford)
Techniques of conservation
14:30 Angeles Solis, Judit Gasca and Silvia Viana (Real Academia de Bellas
Artes de San Fernando, Madrid), The restoration of two plaster casts
acquired by Velazquez in the XVII century: Hercules and Flora
Farnese.

14:50 Maria Kliafa and Michael Doulgeridis (The National Gallery of
Greece), The contribution of plaster sculptures and casts to
successful conservation interventions.
15:10 Sam Sportun (Liverpool Conservation Technologies), The benefits of
laser cleaning plaster at 1064nm/532nm.
15:30 Discussion
15:50 Break


Models of architecture and collections of casts after gems Chair: Christoph
Frank (Università della Svizzera italiana, Accademia di Architettura,
Mendrisio)

16:20 Valentin Kockel (Universität Augsburg), Plaster models and
plaster casts of classical architecture and its decoration.
16:40 Daniel Graepler (Georg-August-Universität, Göttingen), The
Dactyliotheca of James Tassie and other Collections of Gem
Impressions at Göttingen University.
17:00 Gertrud Seidmann (Wolfson College, Oxford) and Claudia Wagner (Beazley
Archive, Oxford), A Munificent gift: cast collections of gem impressions
from the Sir Henry Wellcome Trust.

17:20 Discussion
17:40 Close
19.00 Dinner in Worcester College for speakers and delegates.


Wednesday, 26 September

Casting Nations I
Chair: Jan Zahle (Copenhagen)
9:30 Diane Bilbey and Marjorie Trusted (Victoria and Albert Museum,
London), 'The Question of Casts': Collecting and later reassessment
of the cast collections at South Kensington.
9:50 Malcolm Baker (University of Southern California), The Reproductive
Continuum: Plaster Casts, Photographs and Modes of eproduction in the
Nineteenth-Century Museum.
10:10 Dana Stehlikova (The National Museum, Prague), More Valuable than
Originals: The plaster cast collection in the National Museum, Prague.

10:30 Discussion 10:50 Break


Casting Nations II Chair: Marjorie Trusted (Victoria and Albert Museum,
London) 11.10 Tobias Burg (Staatliche Kunstsammlungen, Dresden),
'Building in Moscow a small Albertinum' The correspondence between Georg
Treu and Ivan
Cvetaev.
11:40 Stephen L. Dyson (University at Buffalo), Ancient Plasters to American
Shores: Cast Collecting and the Origins of American Classical Archaeology.
12:00 Ian Cooke (London), Colonial Contexts: The
Changing Meanings of the cast collection of the Auckland War Memorial
Museum.

12:20 Alessandra Menegazzi (Università degli Studi di Padova), The
museum as a manifesto of taste and ideology: the 20th century plaster cast
collection of archaeology and art at the University of Padua.

12:40 Discussion
13:00 Break

Display and future uses of plaster casts
Chair: Rune Frederiksen (Ashmolean Museum, Oxford)
14:30 Stephan Schmid (Université Paul Valéry Montpellier III), On the
Constitution and Display of the Plaster Cast Collection of
Montpellier University.
14:50 Bernard van den Driessche (University Museum Louvain-la-Neuve;
Association Internationale pour la Conservation et la Promotion des
Moulages), The Garden of Plaster Casts: a different view on Cast
collections.
15.10 Helen Dorey (Sir John Soane's Museum, London), From the Apollo
Belvedere and the Pantheon to early 19th century sculpture: Sir John
Soane's casts as part of his Academy of Architecture' at 13
Lincoln's
Inn Fields (Sir John Soane's Museum).

15.30 James Perkins (Aynhoe Park), Casts in Contemporary Countryhouses.

15:40 Donna C. Kurtz (Beazley Archive, Oxford), Plastercasts on the
Internet.
15.45 Discussion
16:30 End of conference

Thursday, 27 September Optional visits to London plaster cast venues,
including the Sir John Soane's Museum and the Royal Academy of Arts.

Conference organizers
Dr Rune Frederiksen, University of Oxford
Professor Donna Kurtz, University of Oxford
Dr Eckart Marchand, University of Reading

Monday, July 02, 2007

New museology books

Further to yesterday's post, I am delighted to announce that Leslie at Museum Blogging has kindly given her permission for me to add her infinitely useful 'new museology books at Amazon.com' feed to The Attic. You can find it on the right-hand side under 'Links' and before the 24 Hour Museum news feed. I can feel a touch of book shopping coming on...!

Sunday, July 01, 2007

A quick round-up of museum-related web content recently discovered...

Snappy title eh?

Have come across a few interesting and potentially useful websites and blogs recently. I haven't had a chance to explore them in any depth yet (damn this antiquated dial-up Internet connection!), but they all look good.

First up is Museum Views, an international news and reviews site. Their lofty mission is to
cultivate a community of aesthetically-inspired and socially-involved individuals whose awareness and engagement will promote complex visual manifestations and representations of diverse social, artistic and cultural identities.
Sounds good to me!

I came across Leslie Madsen's Museum Blogging via Lynn's blog. In particular, her most recent posting about women in the museum blogosphere is worth a read, not least for the myriad links to other blogs!

And last, but not least, Stuart Frost - past Leicester DL masters student (way back in my day, I believe!) - is recording the development of the new Medieval and Renaissance Galleries at the Victoria & Albert Museum in his blog Medieval and Renaissance: Past, Present and Future.