Earlier this year, we presented a collaborative paper at a conference at the University of Notre Dame, Medieval Art History After the Interdisciplinary Turn (March 28-29, 2014); Marian Bleeke blogged about the conference in April. The paper was on physicians’ almanacs: small, folded manuscripts containing medical texts and images, produced primarily in fifteenth-century England. We […]
Joy Partridge describes how the film “Flash in the Metropolitan” prompted her to become hypersensitive to the otherness of objects.
Kalamazoo 49. The whirlwind, the inspiration, the dance. My face still hurts from smiling.
Here’s a handy list of the events at this year’s Kalamazoo that have MC connections.
Marian Bleeke’s inspired thoughts on some of the papers and ideas discussed at the recent conference held at Notre Dame.
The 2014 Annual Conference of the College Art Association didn’t feature any participation by the Material Collective as a group, but did feature quite a lot of discussion about issues of continuing interest to the Collective, particularly around materiality and objecthood.
Several of us have been talking about slow looking, of late, including me, a term that I think probably borrows from the “slow food” movement. I found myself connecting food and art and slowness in my mind, listening, of all things, to a story on NPR about the recent trend toward a sort of postmodern gleaning.
I have a few, very distinct memories of a day in the spring of 1987 when the mother of two of my dear friends came to New York, where I was in college, and took me to several galleries and then out to lunch or dinner, I can’t remember which.
Collaboration: what we think of it, how we do it, what its value seems to be in our fields and in academia.
In ignoring the history, we ignore an important step in the process by which the tusk assumed its current form—and also deny the real possibility that aspects of the production of ivory could adhere to, or inform, the eventual processed material.