2009 AAANZ Conference Abstracts - The Art Association of Australia ...

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The performative nature of wearing becomes evident in the interactive displays of vintage clothing in public forums such as the rockabilly weekender or festival, and wearing becomes about more than just the garment. Rebecca Gully is a Fashion graduate from RMIT University who subsequently worked as a designer and patternmaker until establishing the label “Get Funked” in the early 90s. She is currently a fashion design practitioner and lecturer, teaching design, patternmaking and garment construction. Her postgraduate works explores nostalgia, memory, authenticity and the designer’s sense of place. Areas of research include mid 20th century popular culture and clothing, and wearing as performance. She has written and published on collecting and wearing vintage clothing, and contemporary fashion design pedagogy. 8. ¡Que Guay! Spanish 18th Century Cool & its 20th Century Legacy in Art and Music Carina Nandla In 18th century Spain a coolness war raged between two youth subcultures; the savvy Petimetres, dandies of the upper classes who were inspired by their haute couture colleagues in Paris’ most fashionable salons and their sworn enemies, the Majos, an extreme Don Juan type whose aesthetic of outrage established his credentials on the street. As Spain’s Enlightenment culture was primarily experienced through the body, each group established their brand of cool through dress and manner and the location for the stoush was the urban streets of Madrid. The ultimate victor in this ideological war was the violent and brazen Majo. In the early twentieth century, as Spain reeled over its lost colonies in Cuba and the Philippines, the Majo and his particular brand of nationalism, become reconstituted as the definitive national signifier. This rejuvenation of majismo was highly romanticised, stripping the majo of his violent edge in favour of a more mild version which resonated with the prevailing conservative nationalism. This paper will explore how Majismo became available for early 20th century Spanish artists and how it was negotiated by two artists, Enrique Granados and Pablo Picasso. Granados transferred Majismo into his 1911 piano suite Goyescas, creating a romantically lyrical musical language. Picasso differed in his approach to Majismo. Using it as the basis for his designs for the 1919 ballet The Three Cornered Hat, Picasso stripped the majo of his romantic power and in so doing problematised Spain’s relationship to its past. Carina Nandlal is a PhD candidate in the School of Culture and Communication at the University of Melbourne. Her thesis is a new interpretation of Picasso’s three ballets for the Ballets Russes with a particular emphasis on the interaction between art, music and choreography. 9. Coolness and Court Culture: Remaking the Eighteenth Century in Film Associate Professor Jennifer Milam In 1980, Domna Stanton published her study of the aristocrat as art, noting a “universal drive to manifest one’s superiority” that can be traced from the representation of the honnête-homme of the seventeenth century to the dandy of the nineteenth century in French literature. Both emerge as variants of an aristocratic impulse that, in Stanton’s words, “persistently haunts the human imagination”. This paper considers the filmic representation of the eighteenth-century courtier along the same creative trajectory and asks to what extent the eighteenth century needs to be remade as cool to attract a twenty-first century audience. Films set in the eighteenth century are expected to construct visually a sense of character through the nexus of costume and scene as part of a cinema of attraction. The opening shots of Dangerous Liasons, for example, sets up the aristocratic body as a blank canvas upon which behaviour is cultivated and controlled through dress, cosmetics and grooming. Similarly the body of the actress becomes a mannequin through which adolescent compulsions to dress and consume fashion are displayed in Marie-Antoinette. What is common between these films and others that attempt to picture eighteenth-century court culture is the central place of dress in creating a visual history of the past. Moreover, these films draw on contemporary notions of coolness to convey an idea of aristocratic status and distance to their audiences. What this paper attempts to explore is not only the historical and visual relationships between coolness and the aristocratic impulse in film, but also the cultural need to disarm the authority of the aristocratic figure through a shift away from notions of superiority based on class to those based on being cool. Jennifer Milam is Associate Professor in the Department of Art History and Film Studies at the University of Sydney. She has published widely on eighteenth century art in edited volumes and such journals as Eighteenth-Century Studies, Art History and Burlington Magazine. Her books include Fragonard’s Playful Paintings. Visual Games in Rococo Art (University of Manchester Press, 2006) and Women, Art and The Politics of Identity in Eighteenth-Century Europe (co-edited with Melissa Hyde, Ashgate, 2003). 24
8. IN HONOUR OF SAINT LUKE: THE MATERIALITY OF ART This session explores the materiality of the work of art, specifically the stages and items involved in its production. The session is primarily, though not exclusively, concerned with art practice of the pre-industrial early modern period. Themes could include art materials, art suppliers, the market for pigments, drawing practice, bozzetti, workshop practices and artistic training, and paint surfaces including canvas, copper and wood. Convenors: Dr Lisa Beaven Dr Alison Inglis David Maskill BLOCK1: THE PRODUCTION OF ART, OBJECTS AND ARCHITECTURE IN EARLY MODERN EUROPE 1. An Artistic Exchange Between Rome and Madrid 1658- 1662 Dr Lisa Beaven (La Trobe University) (MelbourneUniversity) (Victoria University of Wellington) This paper examines an unknown exchange that took place between 1658 and 1662 between a Roman ecclesiastic and major art collector, Camillo Massimo, and a Spanish noblewoman, Lorenza de Cárdenas, the wife of a counsellor and antiquarian at the court of Philip IV in Madrid. In exchange for a extensive collection of ancient coins and medals, Massimo undertook to commission a number of paintings to send to Spain. A large number of letters documenting this exchange exist in the letterbooks of the private Massimo archive in Rome in the Palazzo Massimo alle Colonne and provide a wealth of technical information about painting, from paint pigments and where to obtain them, to the canvases and how to transport them. The specific nature of the evidence contained in the letters provides much-needed detail to fill in the picture of types of artistic exchanges that took place in early modern Europe. Using unpublished archival material, this paper seeks to examine the technical aspects of this commission in the context of the history of collecting and the art market in early modern Europe. Lisa Beaven is a Lecturer in Art History at La Trobe University. Her research interests include landscape painting and ecology in the Roman Campagna, patronage networks and the history of collecting in Early Modern Europe, and art and travel. She is currently finishing a book on the patronage of Cardinal Camillo Massimo. 2. Miniature Madness: 16th to 18th Century Micro-Scale Artefacts Dr Petra Kayser Tiny crucifixion scenes carved in boxwood, insects cast in silver and a hundred faces cut into a cherry kernel – these miniature wonders were prize possessions in Renaissance curiosity cabinets. The fascination with all things tiny compelled artists to invent increasingly complex miniature artefacts throughout the seventeenth and into the eighteenth century. This paper considers the ways in which artists in northern Europe explored the possibilities of creating minute sculptures in a wide range of materials, working with metal, ivory, coral and fruit pips. Their extraordinary craftsmanship demonstrated technical virtuosity that borders on the impossible. Most of the artists are forgotten, but the objects still inspire wonder – they do not only amaze contemporary viewers, but baffle historians who are at a loss to explain how some of these minute marvels were created. Petra Kayser is a Curator in the Department of Prints & Drawings at the National Gallery of Victoria. Petra’s research interests include the history of art and science, particularly in the context of the early modern Wunderkammer, and German art of the Weimar Republic. Last year her article ‘The intellectual and the artisan’ was awarded the AAANZ prize for best journal article published in ANZJA between 2004-2008. 3. Building Materials in Early 18th Century Rome: Materials, Costs, and Processes Dr David Marshall This paper discusses aspects of the ‘materiality’ of building and decorating a villa in the eighteenth century. Examining unpublished documents, it looks at questions like: What did they cost Where did materials come from By what routes did they arrive How much breakage and loss was there How did issues of cost, status, and convention affect decisions about what materials were used BiograpDavid Marshall is a Principal Fellow, University of Melbourne and Adjunct Professor, La Trobe University. 25
Page 1 and 2: Art Association of Australia and Ne
Page 3 and 4: Art Association of Australia and Ne
Page 5 and 6: WELCOME On behalf of the ANU Colleg
Page 7 and 8: THEMES: 1 2 3 4 5 6 7 8 9 10 11 12
Page 9 and 10: SPEAKERS Akenson, David Donaldson,
Page 11 and 12: 1. OPEN SESSION The session welcome
Page 13 and 14: the decorative label often levelled
Page 15 and 16: Robert Wellington has a broad range
Page 17 and 18: of them. Following this, we draw up
Page 19 and 20: design as well as an embroiderer wi
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Page 23 and 24: touring exhibition of the same name
Page 25 and 26: 5. CONTEMPORARY PHOTOGRAPHY, LANDSC
Page 27 and 28: performative modes in a 1910 album
Page 29 and 30: ohemian community caused by artists
Page 31 and 32: 7. COOLNESS: THE BODY, DRESS AND LO
Page 33: its distinctive cultural reference.
Page 37 and 38: and over creating a veritable crust
Page 39 and 40: 9. KEYWORD CURATING: CAN ART HISTOR
Page 41 and 42: 10. LEGACIES OF SURREALISM Although
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Page 47 and 48: eversed canvas to dramatize the con
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Page 51 and 52: objects. Renee Joyce is an early ca
Page 53 and 54: Portraiture at the University of Sy
Page 55 and 56: 15. REAL EMERGENCY: ART AND THE CRI
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Page 61 and 62: The paper presents the artist’s e
Page 63 and 64: Forms, are expressions of ambivalen
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2009 AAANZ Conference Abstracts - The Art Association of Australia ...

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