University of Manchester
This is the community website for the staff and students in the Art History and Visual Studies department in the University of Manchester.
Art History at Manchester has just been re-confirmed as one of the leading departments in the UK for research in the subject. The results of the 2014 Research Excellence Framework (REF – the UK’s review of higher educational excellence) show that we have not only sustained our already high ranking, but increased it. The department had 85% of its research judged as ‘world leading’ or ‘internationally excellent’, which places us third out of art history departments nationally. With 42% of our research overall in the top category, we are also placed third among art history departments.
Find out more about our research culture.
Perspectives on Ford Madox Brown’s “Work”
26 November 2014 1.00 – 4.00pm
Manchester Art Gallery, Lecture Theatre
‘Perspectives on Ford Madox Brown’s Work’ examines one of the most important paintings produced in the second half of the nineteenth century. This dazzling picture has been identified as a landmark in the development of realism in the visual arts, a key example of the desire to picture modern consciousness, a triumphant representation of working-class life, and the fulfilment of a cultural process to conflate urban experience with the grotesque. Other readings have insisted on thematic affinities between Brown’s image of modern experience and the ideological interests of bourgeois society and the industrial state.
The purpose of this half-day workshop is to encourage students and members of the general public to explore these and other matters by reflecting upon the encyclopaedic comprehensiveness of Brown’s extraordinary composition.
This event coincides with the publication of Ford Madox Brown and the Victorian Imagination (eds., Colin Trodd and Julie Sheldon), a Special Edition of the journal Visual Culture in Britain, which includes contributions by Rebecca Milner, Paul Dobraszczyk, Paul Barlow, and Colin Trodd. In addition, it offers the audience an opportunity to look at Work, the best-known painting in the wonderful collection of art works in the Manchester Art Gallery.
1.00-1.10 Introduction: Rebecca Milner (Curator: Collections Access, Manchester Art Gallery)
1.10-1.30 Paul Dobraszczyk (Research Fellow in the History of Art, the University of Manchester)
Men at Work: Visualising Subterranean Labourers in Newspapers in mid-Victorian London
Paul’s publications include: London’s Sewers (2014), Iron, Ornament and Architecture in Victorian Britain (2014) and Into the Belly of the Beast (2009)
1.30- 1.50 Colin Trodd (Senior Lecturer in the History of Art at the University of Manchester):
Work and the Composition of Life
Colin’s publications include: Visions of Blake: William Blake in the Art World (2012), Blake’s Shadow (2008), Representations of G. F. Watts (with Stephanie Brown) (2004), Art and the Academy in the Nineteenth Century (with Rafael Denis) (2000)
1.50 -2.10 Gavin Budge (Senior Lecturer in English Literature at the University of Hertfordshire)
Work and Psychological Form
Gavin’s publications include: Romanticism, Medicine and the Natural Supernatural: Transcendent Vision and Bodily Spectres, 1789-1852 (2013) and Romantic Empiricism: Poetics and the Philosophy of Common Sense 1780-1830 (2007)
2.10- 2.30 Questions & Answers (Chaired by Rebecca Milner)
2.30- 2.50 Mike Sanders (Senior Lecturer in English Literature at the University of Manchester) Contexts for Work: Chartism and Victorian Culture
Mike’s publications include: The Poetry of Chartism: Aesthetics, Politics, History (Cambridge University Press, 2012); a scholarly edition of Benjamin Disraeli’s first novel Vivian Grey for the Pickering and Chatto series – The Early Novels of Benjamin Disraeli (2004); a four-volume collection of primary materials, Women and Radicalism in the Nineteenth Century (Routledge 2001); as well as articles in Victorian Poetry, Victorian Periodicals Review, Victorian Literature and Culture, and Women: A Cultural Review.
2.50-3.10. Paul Barlow (Senior Lecturer in the History of Art at the University of Northumbria at Newcastle): Work and the Hogarthian Legacy
Paul’s publications include: Time Present, Time Past: The Art of John Everett Millais (2005); Governing Cultures (with Colin Trodd) (2001); Victorian Culture and the Idea of the Grotesque (with Colin Trodd), (1999).
3.10 3.30 Questions, Answers & Closing Remarks (Chaired by Rebecca Milner)
3.30- 4.00 Opportunity to look at Ford Madox Brown’s Work in the Pre-Raphaelite Gallery
Places can be booked via Colin Trodd at:
CHARLIE BROOKER: CRITICAL PERSPECTIVES Edited Collection of Essays
full name / name of organization:
Charlie Brooker: Critical Perspectives
THIS IS AN UPDATED CFP WITH AN EXTENDED DEADLINE FOR ABSTRACTS. WE HAVE RECEIVED HIGH QUALITY SUBMISSIONS THUS FAR, BUT REQUIRE MORE TO COMPLETE THE COLLECTION
Charlie Brooker has one of the most distinctive styles in contemporary television. He has gained critical and commercial success in both fiction and non-fiction programmes, notably A Touch of Cloth, the Black Mirror collection and his ‘Wipe’ series. His distinguished style of blending comedy and cynicism underpin his work, and his dystopian narratives engage with some of the most pressing issues in the contemporary world.
Despite this, Brooker has received little critical attention. This edited collection of essays intends to be a starting point. It will offer critical perspectives on a range of themes and issues in his work.
Abstracts are invited for chapters of 6,000 words, and writers should focus on one key Brooker text. Chapters may be based on, but are not limited to, the following:
– Metafiction and narrative
– Satire and dark comedy
– Political contexts
– Ethics and philosophy
– Theoretical perspectives
– Genre and style
– Influences and inspirational media
– Non-fiction works (‘Wipe’, ’10 o’clock Live’)
– Brooker in print (various books, Guardian column, etc)
Abstracts of 300 words should be sent to the editor email@example.com by 10th November. Please include name and institutional affiliation.
The call for expressions of interest for 2014-15 placements is now being circulated. Applications should be returned by 5 October 2014.
Lectures will take place at 5pm, unless otherwise noted, in Mansfield Cooper G22.
2 October, Thursday: Alistair McClymont. Artist. The Fragility of Art as Science. McClymont makes his own ‘science machines’ with beguiling outcomes: like a raindrop that never falls.
16 October, Thursday: Patrick Baty. Colour Historian and Architectural Restorer. Paint Detective. Through in depth paint analyses of houses, bridges and more, Baty digs up surprising stories of architecture and the past.
13 November, Thursday: Elizabeth Howie, Art Historian. The Condemned Man and the Corpse: Barthesian Madness and Roger Ballen’s ‘Outland’. The daughter of a psychoanalyst, Howie takes on the Roger Ballen’s controversial black and white photography, with a focus on his pictures of Plattelanders, the socially and economically marginalized descendants of Dutch settlers in South Africa, and gives us a madness to be felt.
20 November, Thursday: James Cahill. Theorist in Cinema Studies. Edible Beauty: Painlevé and Hamon’s kino-mouth. A ‘strange gourmet’, Cahill sets the table with wildlife cinema, the food chain, and dissident Surrealism
19 February, Thursday: Esther Teichmann: Artist. Fractal Scars, Salt Water and Tears. Through photographs, film and paint, Teichmann erotically travels inside caves, storms, grottoes, women and seashells, like a phenomenologist inside a waking dream.
13 April, Monday: Catherine Jolivette, Art Historian. Promoting Power: The Visual Rhetoric of Britain’s First Nuclear Power Stations. In 1956, ‘Operation Switch’ opened up the world’s first atomic power station and gave birth to a new nuclear visual culture at once utopian and terrifying.
16 April, Thursday: Allison Connolly. French Literature and Film Scholar. Emptiness as a Creative Force. Pondering the empty bed shared by Colette and her lover, Connolly takes us through a tour of emptiness (including Mallarmé’s obsession with the blank page, Ying Chen’s novel Ingratitude and Kay Pollak’s film As it is in Heaven ). With the work of Edouard Glissantis at hand, Connolly looks at opaqueness as both the necessary outcome of diversity in a globalized world and the form of the blank space of creation.
Viktor Wynd (date tba )The Chancellor of the Last Tuesday Society. Viktor Wynd’s Cabinet of Wonders. In regards to his recent book, Viktor Wynd’s Cabinet of Wonders, the filmmaker John Waters comments: ‘An insanely delightful how-to guide on becoming a mentally ill, cheerily obsessive eccentric hoarder told with lunatic humor and absolute joy. Viktor Wynd is a sick orchid who seems like the perfect man to me.’
Also of special interest to AHVS
13-14 May: Malcolm Bull, Visiting Pilkington Professor, details to be announced. Malcolm Bull has been University Lecturer in Fine Art at The Ruskin School of Art, University of Oxford since 1992. His most recent books are Anti-Nietzsche (Verso, 2011); The Mirror of the Gods (OUP/Penguin, 2005), and Seeing Things Hidden (Verso, 2000). He has research interests in both art history and social and political theory.
Cornelia Parker: Visiting Artist, Whitworth Art Institute. Details tba.Cornelia Parker is a sculptor and installation artist. She will be exhibiting her work for the reopening of the Whitworth. When Parker had the British Army blow up a garden shed and then suspended the resulting fragments from the ceiling, for Cold Dark Matter: An Exploded View, she touched on the fragility of experience and reconstructed memory. For The Maybe, made in collaboration with Tilda Swinton, she focused on the aura of objects owned by the famous, like Queen Victoria’s stockings, which were collected and placed within museum vitrines. Even Swinton herself was shown as an object on display in her own glass case. Psychoanalysis’s sexual turn was teased out when Parker made her own Rorschach blots out of sex videos dissolved in solvent for The Pornographic Drawings.
For further information: firstname.lastname@example.org
Join in for a discussion of Donna Harway’s Cyborg Manifesto (1991).
Wednesday 1st October at 5pm in Seminar Room 2, Ellen Wilkinson building, UoM.