AAANZ 2015 Conference
Image Space Body
Queensland Art Gallery/Gallery of Modern Art and the State Library of Queensland
Brisbane, November 24th-25th 2015
After the many ends of art history, we begin again. The conjunction of the Queensland Art Gallery/Gallery of Modern Art’s 8th Asia-Pacific Triennial (APT 8) and the Art Association of Australia and New Zealand annual conference presents opportunities to re-examine art history and generate innovative perspectives on histories and cultural traditions. APT 8 prompts us to challenge assumptions and reconsider the relations between images, bodies, and spaces. We invite discussion on traditions and legacies of art practices and of art histories. We also invite analysis of new parameters for the study and practice of art, including the transformation of the image or of the presence of the body in art today. If the end of art history came with post-colonial/postmodern critique, what happens to such a critique long after these have become familiar discourse? Can we still presume that post-colonial/postmodern critique operate in opposition to a static and resistant orthodoxy? Have such discourses produced hegemonies of their own? What is the status of criticality now? What are the new orthodoxies? What image(s) of art, the artist, and art-historical inquiry do we need to consider in the age of digital media communication or of global contemporary?
The 2015 conference was held at QAGOMA and ran in conjunction with the 8th Asia Pacific Triennial of Contemporary Art. Many delegates also attended the APT 8 Conference.
You can download the program here Final Program AAANZ 2015 and you can download the abstracts here AAANZ 2015 Abstract Booklet
2015 Keynote
Dr Peter Brunt, Victoria University of Wellington
Peter’s career in Art History began after returning to university to study Art History as a ‘mature student’ in 1989. Previously he’d worked as an actor in theatre, film and television. He completed an MPhil at the University of Auckland in 1991 and his PhD at Cornell University in 1999, where his dissertation focused on the work of William Hodges, artist on Cook’s second voyage.
He recently co-edited the multi-authored book, Art in Oceania: A New History (Thames & Hudson 2012 and Yale University Press 2013). Widely praised as a landmark publication, the book is the outcome of a 5 year international collaboration, supported by a grant from the Marsden Fund of the Royal Society of New Zealand. He is also co-editor (with Thomas and Sean Mallon) of Tatau: Photographs by Mark Adams: Samoan Tattooing, New Zealand Art, Global Culture (Te Papa Press 2010) and curator of the associated exhibition Tatau: Photographs by Mark Adams, which has been shown at galleries and museums in New Zealand, Australia, Canada and the UK.
He has published in journals such as Reading Room: A Journal of Art and Culture and The Eighteenth Century: Theory and Interpretation and written catalogue essays for exhibitions such as the Asia Pacific Triennial and the retrospective of leading New Zealand artist John Pule (Hauaga: The Art of John Pule, University of Otago Press 2010). From 2001 to 2007, he served on the Arts Council of Creative New Zealand.
2015 Committee
The 2015 conference was organised by The Brisbane Consortium for the Visual Arts.
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