A BUSY YEAR OF CONFERENCES & Research Abroad
"Incognito : Abstraction and Feeling in Modern Religious Art”, at the 1st International Conference on Contemporary and Historical Approaches to Emotions, CHAE, TASA, UOW, UOW Sydney Campus, 5-7 December.
"The Modern Artist as Spiritual Adept, The Artist and Society”, at the International Conference Institute of Art History and Theory, Tbilisi State University, Georgia. 18-19 November.
"Adapting Time and Historical Space: Mnunchkine’s Théâtre du Soleil and the Comédie Français”, at Adaptations in History, 11th Annual Conference of the Association of Adaptation Studies, University of Oxford (St Anne’s College) UK, 26-27 September.
'The Present Future Past: Prophecies and Conspiratorial Fascinations", The Great Fire: Reconsidered, Gabriella Infante & Rebecca Rideal (The History Vault) organisers, Wren Suite, St Paul’s Cathedral, London 3 September.
"Medieval Pop: Warhol’s Religio-Secular Iconography", 7th Annual PopCAANZ International Conference, University of Sydney, 29 June – 1 July.
"Medieval Pop: Warhol’s Byzantine Iconography”, at Art and Articulation: Illuminating the Mystical, Medieval and Modern, The University of Oxford Mystical Theology Network conference, (St. Hilda’s College), 8-9 January.
Doctoral pursuits.
What began last July is beginning to take shape, and fascinating new contributors within 20th century
art history are appearing. Before and after presenting my paper "Medieval Pop: Warhol's Byzantine Iconography" at Oxford 8-9 January, I had precious time in London to take advantage of the invaluable resources that make 26+ hours of sleepless travel to get there worth it. Independent bookshops offered out of print editions (that were also reasonable) and the Courthault Collection provided the opportunity to see critical Kandinsky and Gabrielle Munter paintings.
art history are appearing. Before and after presenting my paper "Medieval Pop: Warhol's Byzantine Iconography" at Oxford 8-9 January, I had precious time in London to take advantage of the invaluable resources that make 26+ hours of sleepless travel to get there worth it. Independent bookshops offered out of print editions (that were also reasonable) and the Courthault Collection provided the opportunity to see critical Kandinsky and Gabrielle Munter paintings.
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