19 – 20 November 2020, Online
Association For Art History
Keynote Speaker: Christina Michelon, Boston Athenæum, Printcraft: Making with Mass Images
The relationship between art and ideas of craft and industry is long and complex. The latter are often conceived in antithetical terms, with hand-produced, unique ‘art’ objects positioned on the one hand, and mass-produced, industrially made commodities placed at the other. The art historical meanings of ‘craft’ are similarly varied, referring to an interrelated set of practices, categories, and actions. As verb, noun, and adjective in its various forms, craft can denote the physical act of labour; a category of material production; or something judged to be of a certain level of quality. When used as a descriptor of creative practices, the word craft encompasses a broad range of material production, from ceramics, textiles and metalwork, to fashion, design, and amateur practice. At the same time, “craft” can stand as a synonym for how both things and people are “made”. The programme accordingly seeks to explore these complex intersections between art, craft, and industry, concerns which have so often shaped the history of art as a discipline.
This year’s New Voices programme will showcase research from international Masters and PhD students exploring these issues over any historical period or geographic region. The two-day online event will be an opportunity for researchers, makers and practice-researchers to open a dynamic discussion about the similarities, divergences and interconnectivity of art, craft and industry taking place around the world. New Voices is a longstanding event for postgraduate research. This year we take advantage of the digital format and expand into a GLOBAL New Voices, which will host even more international research and practice.
Programme and registration are available via: https://forarthistory.org.uk/events/global-new-voices/
This conference is organised by Daniel Fountain, Freya Gowrley, Alicia Hughes and Gursimran Oberoi of the Association For Art History’s DECR Committee.