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  • Artl@s - A Short Video Presentation

    Established in 2009, Artl@s is a project of a Spatial (Digital) history of art. Director: Béatrice Joyeux-Prunel, Associate Professor at the Ecole normale supérieure, Paris, France. Vice Director: Catherine Dossin, Assistant Professor at Purdue University, USA. Artlas relies on: a spatial, social, and global approach to art history the development of contributive digital resources the help and financial support of our partner institutions - ENS, Labex TransferS, ANR, and (...)

  • Program of the South-South Conference

    Wednesday, June 17 2015 Thursday, June 18 2015 Friday, June 19 2015 Free entrance, no registration is required. ________________________________________________________________________ Wednesday, June 17 9:30 - 10:00 Tea & Coffee 10:00 - 10:15 Introduction 10:15 – 12:30 PANEL 1 - Historicity of a decentered art history: formation and impediments of South-South circulations. Chair: Sven Spieker Dwight Carey: Global Architecture in the Indian Ocean: The Built Environments of (...)

  • South-South Axes of Global Art

    The decentered internationalism claimed by the Havana, Dakar, or Gwangju biennales, that the Venice biennale is now trying to echo by awarding Angola’s pavilion the 2013 Golden Lion, invites us to depart from an exclusively North Atlantic art history. Historicizing and measuring the circulation of art on the former margins is now a decisive task if we want to evidence, nuance, or contest the “provincialization” of Europe and North America in recent art history. Artl@s’ 2015 conference aims to (...)

  • Call for papers : The Geographical Information of Art History: How and Why to Retrace the Circulation of Knowledge and Facts

    Artl@s Bulletin 4, 2 (Fall 2015). Deadline: December, 8 2014 “Traces by the thousands… it’s the dream of any researcher”, but the way to go from the archives or the field is seldom straightforward: “the physical pleasure of salvaging a lost trace is followed by feelings of perplexity and impotence of not knowing what to do with it”[1]. The spatial turn in humanities has enticed various disciplines to deconstruct the making of artistic facts: studying the circulation of artworks and artists now (...)

  • 2014 Indiana GIS Conference

    Nicole Kong and her student Yunkai Sun are presenting their work for Artl@s at the 2014 Indiana GIS Conference, on May 7-8, 2014, at the Sheraton Indianapolis Hotel at Keystone Crossing, Indianapolis, Indiana. For conference details please visit:

  • 15 April 2014 - Call for papers: Highways of the South: Latin American Art Networks

    Special Issue of Artlas Bulletin, Deadline for submissions: April 15, 2014 Please email to During the last fifteen years, Latin American art has been added to canons of twentieth-century modernism and postmodernism, in an apparent triumph for the field. The myriad exhibitions and scholarly texts that have contributed to this explosion of interest have taken different approaches to the transnational, networked character of the modernism and contemporary art of the (...)

  • 13 mars 2014 aux ARCHIVES NATIONALES : quelles sources pour l’histoire transnationale de l’art?

    Dans le cadre du colloque "L’histoire de l’art à la source" (12 et 13 mars 2014), INHA/Archives nationales Sixième séance du colloque "L’histoire de l’art à la source", 12 et 13 mars 2014 Jeudi 13 mars 2014 ARCHIVISTES ET HISTORIENS De l’ART : ÉCHANGES ET COMPLEMENTARITÉS Archives nationales - Site de Pierrefitte-sur-Seine Autour des échanges artistiques internationaux sous la présidence de Zahia Rahmani, Institut national d’histoire de l’art 15 h 30 - 15 h 50 Échanges entre la France (...)

  • Artistic Circulations in Latin America and Beyond

    Google Map of birthplaces of artists included in Inverted Utopias exhibition, Museum of Fine Arts, Houston, 2004. In recent decades, the art histories of regions of the world traditionally constituted as “peripheries” to designated “centers” such as Europe or North America (and indeed, specific cities within these hegemonic regions) have expanded the geographical purview of the field. With this shift has come an explosion of interest in the modern and contemporary art of Latin America, which (...)

  • A Review of the "Peripheries" Conference

  • Olivier Marcel: Artl@s postdoc 2014-2015

    Olivier Marcel is a geographer whose interest in the study of art has stemmed at the junction of three main lines of research: the worlding of cities in the Global South and the globalization of art; pragmatic approaches to the mobility of art and its actor; geographical representations of knowledge and the mapping of art. A grant from the French Institute for Research in Africa (IFRA-Nairobi, USR 3336) allowed him to pursue these topics for two years in Nairobi, Kenya. In July 2014, he (...)

  • "Scale Matters in Art History" : panel at the Fourth European Congress on World and Global History

    Questions of scale are a core issue for global history. They are particularly crucial for art history, in which a monographic tradition is still dominant. Next to the usual scales (urban, regional, national, international, transnational and/or circulatory), works of art can also be considered as a scale in its own right, one in which different logics meet or compete. This panel will bring together scholars who are pioneering new scales in art history. It will foster exchange and collaboration among them. We seek to combine the presentation of projects in which multiple scale analysis is practiced, and the potential study of works is not reduced to a monographic, and/or a local scale. By inviting researchers to illustrate the objects, methods and problems of their work, our panel aims to address a number of fundamental epistemological questions:

    - How does the choice of a particular scale affect our objects? A larger or a narrower focus can modify our perceptions of “facts”, but also determine from the outset what we can (or cannot) see. In other words, we do not see more or less depending on our scale of choice: we see completely different things.

    - How does art history construct its scales of analysis? How to explain the various reception of certain approaches (micro, macro, trans-, etc.) in the history of our discipline and in different national traditions?

    - How to use different scales, and articulate them? Is there continuity or discontinuity between different levels?

    - Which tools for which scales? Macro scales are usually associated with quantitative analysis, just as micro approaches are expected to deploy qualitative methods. But is this dualism always appropriate?

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