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Keynote Speakers
David Cottington is Professor of Modern Art History at Kingston and Director of Postgraduate Studies. Cottington is an expert on cubism and modern art and has published several books on the subject. The most recent, of these is Modern Art : A Very Short Introduction published by the Oxford University Press in 2005. His other publications have included, Cubism in the Shadow of War : The Avant-Garde and Politics in Paris, 1905-1914, Movements in Modern Art : Cubism, and Cubism and its Histories. As his work has progressed Cottington has become increasingly interested in the artistic ’avant-garde’, both as a concept and as a historical formation. One aspect of this work which has been a central part of his research now is the question of the relevance (or otherwise) of the ’avant-garde’ as both concept and historical formation to contemporary art practice and the creative industries sector of the economy. He is currently working on a book on the formations of the avant-garde in London and Paris c1900-1915, which will explore the differences, and relations, between the discourses and institutional developments that shaped the emergence and consolidation of these formations. A starting-point for this is a comparison of the positions of Picasso and Augustus John in 1907.This project is preliminary to a proposed international collaborative project, ’mapping’ this emergence and consolidation, on a European (and, to some extent, global) scale. This will identify a number of key typologies of the avant-garde groupings that appeared in the capital cities of Europe (and North and South America) in the pre-First World war period. Cottington is currently working on a proposal for a major exhibition on the ’public spaces of cubism’, to mark the centenary of the public launch of the movement in Paris in 1911.
James Elkins is E.C. Chadbourne Professor in the Department of Art History, Theory, and Criticism, School of the Art Institute of Chicago. His most recent book is What Photography Is. He writes on art and non-art images ; recent books includeChinese Landscape Painting as Western Art History (Hong Kong University Press) and Art Critiques : A Guide (New Academia). Currently he is editing a book series called the Stone Art Theory Institutes (Penn State Press). In 2011 he stopped writing monographs in order to concentrate on an experimental writing project that is not related to art.
Catherine Grenier is deputy director of the Musée national d’art moderne-Centre Pompidou. As a curator and art historian, she joined Centre Pompidou in 1992. Since 2009 she has directed a program "Research and Globalization" at Centre Pompidou. She works on the internationalization of the museum new acquisitions, a re-writing of art history, and a new history of exhibitions. At Centre Pompidou, she is also responsible for new cooperations with partners from "globalization countries".
Piotr Piotrowski is Professor ordinarius at Art History Department, Adam Mickiewicz University, Poznan, Poland, which he has been chairing between 1999-2008. He also was the co-editor of the annual journal Artium Quaestiones (1994-2009), Director of the National Museum in Warsaw, 2009-2010, and Senior Curator of Contemporary Art at the National Museum in Poznan, 1992-1997. Visiting Professor at Humboldt University (2011-2012), Warsaw University (2011, 2012-2013), the Center for Curatorial Studies, Bard College USA (2001), Hebrew University in Jerusalem (2003), and Central European University, Budapest (2002, 2009). He was a fellow – among others – at the Center for Advanced Studies in the Visual Arts, Washington D.C. (1989-1990), Columbia University (1994), the Institute for Advanced Study, Princeton NJ (2000), Collegium Budapest (2005-2006), and the Clark Art Institute, Williamstown, MA (2009). He is the author of a dozen books including : Meanings of Modernism (1999, 2011), In the Shadow of Yalta. Art and the Avant-garde in Eastern Europe, (2005, English 2009, Croatian 2011), Art after Politics (2007), Art and Democracy in Post-Communist Europe (2010, English 2012), and Critical Museum (2011). For his scholarly achievements Piotrowski received among others Jan Dlugosz Award Krakow 2006, and Igor Zabel Award for Culture and Theory, Barcelona 2010.
Derek Sayer is Professor at Lancaster University (UK). He was originally trained in sociology (PhD Durham 1975), and wrote a number of books on classical social theory (e.g. Marx’s Method, 1978 ; The Violence of Abstraction, 1986 ; Capitalism and Modernity, 1990) and state formation (The Great Arch, with Philip Corrigan, 1985). Latterly he has used modern Czech history, and especially the modern history of the city of Prague, as a laboratory in which to explore the many-sidedness of "the modern condition," focusing in particular on cultural history, including architecture, music, and the visual arts (The Coasts of Bohemia, 1998 ; Prague, Capital of the Twentieth Century, 2013).
Organizing Committee
Catherine Dossin is an art historian. Originally from France she received a Master’s degree from the Sorbonne and a Ph.D. from the University of Texas at Austin. She is an assistant professor at Purdue University, where she teaches courses on modern and contemporary art in the United States, Europe, and Latin America. Her research is rooted in historiography and geopolitics with an emphasis on transnational dialogues. Her first book,Geopolitics of the Western Art World, 1940s-1980s, to be published by Ashgate in 2014, challenges the New York-centered official story of postwar Western art by highlighting the role played by the German, Italian, Dutch, and Belgian so-called peripheries. She is currently working on a history of the reception of American art in postwar Europe. She is the President of the European Post-War and Contemporary Art Forum (ECAF) and the co-editor of the Artl@s Bulletin.
Béatrice Joyeux-Prunelis associate professor in History of Modern and Contemporary Art at the École Normale Supérieure, Paris. Her research focuses on the history of the avant-garde and artistic internationalisation, as well as on methodology in art history. Her PhD dissertation on the internationalisation of 19th and 20th century avant-garde movements was awarded by the Chancellerie des Universités de Paris (2006), and the Musée d’Orsay (2007), and has since been published under the title Nul n’est prophère en son pays ? l’internationalisation de la peinture avant-gardiste parisienne, 1855-1914 (A Prophet Hath No Honour In His Own Country ? Internationalisation of Parisian Avant-Garde Painting, 1855-1914). Béatrice Joyeux-Prunel is also interested in quantitative and cartographic methods : to discuss them, she organized various events whose outcome was published inL’art et la mesure. Histoire de l’art et méthodes quantitative : sources, outils, bonnes pratiques, Paris, Éditions Rue d’Ulm, 2010. She founded Artl@s in 2009 and coordinates the project and its funding by the Agence Nationale pour la Recherche (ANR), within the Institut d’Histoire moderne et contemporaine (IHMC) and the TransferS Labex. Béatrice Joyeux-Prunel teaches at the École Normale Superieure, Paris, and supervises M.A. theses on artistic circulations (painting, sculpture, theater, cinema). She also represents France in the "Art and Cartography" commission of the International Cartographic Association. She is finishing a socio-spatial history of modern art (1848-1968), to be published by Gallimard.
Michela Passini is a researcher at the CNRS (Institut d’histoire moderne et contemporaine). She is a specialist in historiography of art and of museums and heritage history. She is preparing a transnational history of exhibitions in European and North American museums (1900-1940).
Mathilde Arnoux is a Research Director at the Centre allemand d’histoire de l’art in Paris and PI of the project To Each His Own Reality : The notion of the real in the art of France, West Germany, East Germany and Poland between 1960 and 1989 (funded by the ERC Starting Grant Program). Focusing on the artistic exchanges in Europe in the 19th-20th c., she has published La peinture allemande dans les musées français 1871-1981, Paris, 2007 and, with Anne Panzani and Thomas W. Gaehtgens, Correspondance entre Henri Fantin-Latour Otto Scholderer, Paris, 2011. Her research currently deals with cross-cultural analyses in Cold War Europe. On this subject, she has published various articles in Études GermaniquesPerspectivesRevue de l’art and onlineLettres du Séminaire Arts & Sociétés of Laurence Bertrand-Dorléac, Sciences Po, Art beyond borders in communist Europe (1945-1989)éd. par J. Bazin, P. Dubourg-Glatigny, B. von Hirschhausen, P. Piotrowski ( 
Jérôme Bazin is associate professor at the University of Paris-Est Créteil. He received a Ph.D. in history and art history with a dissertation on the social history of East German painting from 1949 to 1989. This research led him to examine the geography of art of a Popular Democracy and its exchanges with other countries. Prof. Bazin is currently working on similar situations in other national contexts : Poland, Italy, Hungary, etc. He is also editing with Pascal Dubourg Glatigny and Piotr Piotrowski a book on artistic exchanges within Communist Europe.
Ewa Bobrowska, PhD, art historian and psychologist, is Associate Program Officer, Research at the Terra Foundation for American Art Europe in Paris where she is responsible for the coordination of research scholarships, colloquia and conferences as well as the provision of scientific information. Bobrowska was previously the curator and then head of the art collection of the Bibliothèque Polonaise in Paris (1988–2002). As a specialist of 19th and 20th century art, she devoted her doctoral thesis — Polish Artists in France 1890–1918. Communities and Individuals (University Paris, 2001) — to the Polish artistic presence in France. She is particularly interested in Polish art in an international context, especially the history of the Polish artistic immigration to France as well as, more generally, the promotion of national art forms, (be they American, Polish etc.) overseas. Her most important publications are : Artyści polscy we Francji 1890–1918. Wspólnoty i indywidualności, Warsaw 2004 ; Simon Mondzain (co-author), Warsaw 2012. She is the author and curator of numerous exhibitions on Polish culture, art and history, in both France, Poland and USA, including “Olga Boznańska (1865–1940), peintures”, Paris, 1990 ; “Harmonia Wodnika — Witold Januszewski : malarstwo, rysunek”, Kielce 2010 ; and “Polonia. Les Polonais en France de 1830 à nos jours”, Cité nationale de l’histoire de l’immigration, Paris, 2011. Author of numerous articles and member of the editorial team ofArchiwum Emigracji (Torun), she regularly participates in international colloquia. In 2004, she co-edited La Saison polonaise, a special edition of theBeaux-Arts Magazine dedicated to Polish art of the 20th century.
Carolyn C. Guile is Assistant Professor of Renaissance and Baroque Art history, Dpt. of Art and Art History at Colgate University (USA). As a specialist of art and architecture in early modern East-Central Europe, her interests include 17th- and 18th-century architectural theory in the Polish-Lithuanian Commonwealth, Jesuit arts and architectures, and the writings and collecting activities of Francesco Algarotti. Her current book project studies arts and architectures of the so-called "borderlands" of Poland.
Kristine Khouri is a researcher, writer and photographer based in Beirut, Lebanon. Kristine collaborates on projects with artists who have research-based practices including Walid Raad’s current project, "Scratching on Things You Could Disavow : A History of Modern and Contemporary Arab Art" as well as with Joana Hadjithomas and Khalil Joreige on their project on the history of The Lebanese Rocket Society. She has contributed writing to Bidoun, Art Asia Pacific Almanac, The National (Abu Dhabi), and her most recent text in for Art Dubai’s Global Art Forum 6 : The Medium of Media’s publication "TL ; DR, Some Medium Stories" on gossip and research. In 2010, together with Rasha Salti she founded The History of Arab Modernities in the Visual Arts Study Group, a long-term regional project whose main mission is to investigate a realm of production, exhibition, critical engagement and consumption of modern art in the region that remains undocumented from the period of 1950s-1980s in the Middle East. They have presented on their research in Bilbao, Cairo, and Istanbul and have published writing including an essay, "Beirut’s Musée Imaginaire : The promise of modernity in the age of mechanical reproduction." They are currently working on a research project, on the history of "The International Art Exhibition in Solidarity with Palestine," Beirut, 1978. In addition Kristine is currently working on a project exploring pan-Arab art sites and events in the 1970s, beginning with the history of Kuwait’s Sultan Gallery.
Nicole Kong is an Assistant Professor of Library Science and a Geographic Information Systems (GIS) specialist at Purdue University. Her expertise includes geospatial information retrieval, visualization, data processing, geodatabase management, and web GIS development. She has successfully designed and developed several web-based GIS applications for the public and professionals. She also has several years of experience in teaching GIS and remote sensing courses. To collaborate in Artl@s project, she will research for best solutions to integrate geospatial information into the system.
Olivier Marcel is a geographer whose interest in the study of art has stemmed from the junction of three main lines of research : the worlding of cities in the Global South, pragmatic approaches to mobility and geographical representations of knowledge. 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. Supervised by Professor Bernard Calas (Bordeaux 3 University), he is currently completing his PhD thesis titled “Tracing Art from Nairobi – Geography of Artistic Mobilities in an East African Metropolis”. He is a junior research fellow at the laboratory Les Afriques dans le Monde (LAM, UMR 5115) and a collaborator of the Artl@s project.
Annika Öhrner, Stockholm, Senior Lecturer in Art History at Södertörn University, Sweden. She defended her dissertation "Barbro Östlihn and New York. Art’s space and possibilities." in Uppsala university in 2010. She is presently working with a research project on transnational strategies among Scandinavian artists in Paris 1908-1925. She has published research on German Gabriele Münter in 1877-1962 Retrospektive, Prestel Verlag, München 1992. Among recent publication are “Moderna Museet in Stockholm. The Museum and the Avant-Garde”, Nordisk avantgardehistorik, 3 ed. Tania Ørum & Marianne Ping Huang, Amsterdam & New York : Rodopi, 2013 (fortcoming) ; “Cubism in transit ; Siri Derkert and the early Parisian avant-garde.” in Veivo, Harri (ed.), Transferts, appropriations et fonctions de l’avant-garde dans l’Europe intermédiaire et du NordCahiers de la Nouvelle Europe, Editions L’Harmattan, 2012 and ”Recalling Pelican : On P.O. Ultvedt, Robert Rauschenberg and Two ’Ballets’ ”, Konsthistorisk tidskrift /Journal of Art History : Rauschenberg and Sweden, Routledge, 2007, häfte 76, pp. 27-39. Annika Öhrner is also a curator, more recently with retrospectives of Meret Oppenheim (2004) and Siri Derkert (2011) at Moderna Museet. She was Dean of Valand School of Fine Arts, Gothenburg University, 1996-2011.
Sophie Orlando received a Ph.D. in contemporary art history from the University Paris 1 Panthéon-Sorbonne in 2010, with a dissertation entitled " What Makes Britain so Great ? La britannicité et les arts contemporains en Grande-Bretagne de 1979 à nos jours." Her research focuses on cultural and social history of art, the artistic process of globalization in the modern period, and artistic practices in migration history. She is founder and president of the association One Piece at a Time. She teaches graduate courses since 2007.
Carmen Popescu is an independent art and architectural historian. She has been involved in numerous research projects and holds teaching positions in France and Romania. She has been invited to lecture in universities in Belgium, Great Britain, Slovenia, United States and Turkey. She is affiliated since 2008 with Paris I-Sorbonne, where she teaches History of Architecture as an Adjunct Professor. Her research focuses on three main axes – identity, politics and historiography. Her work on Eastern Europe combines all three directions, which she has developed in publications and conferences. She has organized a number of conferences and sessions in conferences on the assessment of Eastern European in current historiography, such as “The ‘other’ Europe : Eastern and Central Europe in Western Art History” (INHA, Paris – 2007). Her publications include : “Being specific : limits of contextualising (architectural) history” (Journal of Architecture, December 2011), “Behind the Iron Curtain : architecture in the former Communist bloc, between isolation and fascination” (guest editor, Journal of Architecture, February 2009), “L’autre Europe” (guest editor, Ligeia, July-December 2009).
Zahia Rahmani is French writer born in Algeria. Since 2004, she is in charge of Art and Globalization Research Program at the Institut national d’histoire de l’art, a transdisciplinary research project and database on “art, literature, theory and globalization”.
Sophie Raux is associate professor of history of early modern art at the University Lille 3 (IRHiS-CNRS) where she is teaching and doing research on painting, print and drawing in France and Flanders. Her current research focuses mostly on the cultural and social construction of art value and on the circulation and consumption of pictures and art objects in the southern Low Countries and Northern France. From 2008 to 2012, she coordinated the Agence Nationale de la Recherche’s international research program Art Markets in Europe : Emergence, Developments, Networks. She is currently editing, with Neil De Marchi, the collective volume of the teamwork, titledMoving Pictures. Trading in Pictures in Europe 1400-1800 (Turnhout, Brepols, forthcoming 2013). Since 2011, she is the scientific coordinator of the iCAVS project (Interdisciplinary Cluster for the Advancement of Visual Studies) supported by the Université Lille 3, the Université Lille 1 and the CNRS.
Giovanni Rubino graduated from the University of Roma Tre in 2003, with a senior thesis that examined Italian constructivist painting of the Thirties. He then completed a postgraduate degree in art history at the University of Udine, where he worked on kinetic art, focusing on Getulio Alviani and the texts he published in the magazine Flash art. 2012 Rubino received a Ph.D. in contemporary art history through a cotutelle agreement between the University of Udine and the University of Zagreb. His dissertation, written under the direction of Prof. Alessandro Del Puppo and Prof. Zvonko Makovic, considered the relations between Italy and Croatia in the Sixties, in particular the Nove tendencije exhibitions. Recently, he organized the exhibitionPalinsesti 2013 - Scatole sonore which took place in San Vito al Tagliamento (Pordenone).
Rasha Salti is an independent film and visual arts curator and writer, working and living in Beirut, Lebanon. She co-curated with Richard Peña a retrospective of Syrian cinema The Road to Damascus (2006) ; Mapping Subjectivity : Experimentation in Arab Cinema from the 1960s until Now, with Jytte Jensen (2010-2012) showcased at the MoMA in New York. In 2011, she joined the team of programmers of the Toronto International Film Festival. Salti has administered a number of cultural and artistic events, including a tribute to Edward Said titled For a Critical Culture (Beirut, 1997), as well asWaiting for the Barbarians : A Tribute to Edward Said (Istanbul, 2007) in collaboration with Metis Press and Bogazici University. Salti writes about artistic practice in the Arab world, film, and general social and political commentary, in Arabic and English. In 2006, she edited Insights into Syrian Cinema : Essays and Conversations with Filmmakers (Rattapallax Press) ; and in 2009, she collaborated with photographer Ziad Antar on an exhibition and book titled Beirut Bereft, The Architecture of the Forsaken and Map of the Derelict. In 2010, she co-edited I Would Have Smiled : A Tribute to Myrtle Winter-Chaumeny with Issam Nassar, a book dedicated to the legacy of British photographer founder of the UNRWA (United Nations Relief and Works Agency) photographic archive. In 2012, she co-edited with Layla al-Zubaidi, Samar Kanafani and Munira Khayyat, Anywhere But Now : Landscapes of Belonging in the Eastern Mediterranean the book resulting from the symposium, published by the Heinrich Boell Foundation. In 2011 and 2012, she was invited to be the guest-editor of the Manifesta Journal issues number 14, 15 and 16, published by the Manifesta Foundation.
Veerle Thielemans is the European Academic Program Director at the Terra Foundation for American Art. Her major responsibility is the overseeing of the foundation’s academic initiatives and partnerships on American art history in France and other European countries, including the support to teaching programs, research projects, international symposia and scholarly convenings. Born in Brussels, Veerle Thielemans completed a degree in art history at the University of Louvain to pursue further studies in semiology at the École des hautes études en sciences socials (EHESS) in Paris, followed by a doctoral degree in art history at the Johns Hopkins University.
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