It was great to see so many members and students at this year’s conference in Sydney. It was held earlier than usual to coincide with this year’s Sydney Biennale , and was also linked to it thematically by the title TOGETHER<>APART. APT etc Many papers focused on the network of relations that structure art and its practices, between artists, curators, critics, art museums and their publics.
The two key notes invited to Australia, Thierry de Duve and Helen Molesworth, both renowned art historians and curators were most generous in also conducting master classes for some 60 postgraduate students in Sydney. Thi afternoon provided a rare and focused opportunity to discuss texts by these two distinguished practioners. De Duve’s opening key note delivered at the Seymour Centre (see photograph) drew an estimated audience of some 400, no doubt aided by an intensive media blitz that he had with great good will undertaken on ABC radio and TV. Molesworth ‘s lecture closed the conference at the Art Gallery of NSW , followed by farewell cocktails.
Conferences are a good barometer of shifts in the field of art history. Our program of keynotes and some 200 speakers, from over twenty five different universities across NZ & Australia and internationally saw many artists participating, no doubt in large part because they are now expected to undertake extended academic research as part of their employment & teaching. The profound implications of this new academy for art practice and for art history are yet to be fully understood. There were also many curators, educators and other museum staff speaking & while other organizations exist for this sector, AAANZ is the only conference that brings together all aspects of art history. All these fields have brought new vitality to our discipline.
In the current economic climate, conferences are crucial to our organization as we now face the prospect of defending the very jobs of those teaching art history, a role highlighted recently by redundancy offers at the University of Sydney and the possible closure of art history at La Trobe University. I wish to thank those members of the Executive who drafted the petition that eloquently puts the argument for art history as both a foundational subject in the humanities, as well as offering visual literacy for all disciplines in universities.
This year we linked a membership renewal campaign to the conference call for papers. Our membership figures are stable, but as many people joined for NZ conference, six months ago there appears to be a dip. Conferences provide the major base for membership drives. When planning future conferences it is important to consider that art school staff are better able to get funding to attend when the conference is linked to a cultural event. It is crucial to make a concerted effort to encourage post graduate students to join Prizes are a great incentive for membership & I am delighted that we now will be offering 9 prizes for members publications next year. Instead of a conference dinner, the National Art School hosted a very popular night of art performances, at which our book and catalogue prizes were announced. It proved a wonderful opportunity to meet up with international visitors attending the International Art schools General assembly, thanks to Anita Taylor and John Di Stefano for the wonderful night.
The untiring work of Conference coordinators Sue Best & Donna West Brett as well as our special conference coordinator Katrina Liberiou, ably assisted by Louise Mayhew our Administrator, delivered a most impressive event. Finally many thanks to our supporters at the University of Sydney: the Power Institute, Art History and Film Studies, Sydney University Museums & Sydney College of the Arts who has provided two student bursaries, and the College of Fine Arts for University of New South Wales, the National Art School, the Art Gallery of New South Wales, the Sherman Contemporary Art Foundation and the Australia Council. & a special thanks to our small army of volunteers.
Ann Stephen August 2012