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Australasian Association for European History 27th Biennial Conference 5 to 7 July 2021 Online Conference Abstract: Irony in Art History and the Art World’s Categorical Gender Games There is no question that art history, auction house, and the global art world remain a white man’s world, even within an increase in receptivity and change. Ironically, these shifts to update or correct historical accounts raise questions of inclusion driven clearly by the contemporary global marketplace. The Swedish painter Hilma af Klint (1862-1944), whoseThe Secret Paintings exhibition is currently at the AGNSW until September, raises many critical questions needing to be acknowledged: While promoting Af Klint as the female artist pre-empting Wassily Kandinsky (1866-1944) to abstraction in art, this raises its own difficulties, from a feminist point of view. Why Af Klint rather than British artist Georgiana Houghton (1814-1884)—who exhibited her work in London in 1851 eleven years before Af Klint was born? Houghton’s works from the Victorian Spiritualist Union in Melbourne were on loan for London’s Courthault Gallery’s Georgiana Houghton: Spirit Drawings in 2016. Both Af Klint and Houghton’s spiritual practice of mediumship raises questions of artist attribution by the artist declaring their artworks were not the produce of their own conscious efforts. Further, the national isolation preceding globalism and technological access, and art historical timelines, need to be contextualised much more broadly when observing an artist or artworks’ unique values beyond art history, gender, or postmodernist categorisations on the way to secular institutions’ profitability. These will be the subject of my paper. Dr Jewell Homad Johnson University of Sydney https://history.cass.anu.edu.au/events/australasian-association-european-history Visit this exhibition at AGNSW of Af Klint The Secret Paintings https://www.artgallery.nsw.gov.au/whats-on/exhibitions/hilma-af-klint/ 
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Dr Jewell Johnson is back now that the dissertation is finally written, edited, reviewed and accepted. Its tough in the Arts and Social Sciences and the Humanities- it took over 2 years from when I submitted, which isn't unusual IF you aren't in medicine or science. My med friends were submitted, reviewed and graduated in 6 weeks and 2 months. There are more battles than Covid-19 on the education front. That said I am richer for the experience, busy with research and writing projects and back in the theatre saddle again. This Sept 24-Oct16 my vision of Roald Dahl's The Witches will hit the Pavilion Theatre stage in Castle Hill. We are finalising a few roles now and starting up after June 26 when The Cripple of Inishmaan closes (get your tickets for that production immediately). Until next time......   Ongoing inspiration from Grosse comes from Jan Van Eyck's Madonna in the Church (1438-1440) for its non-natural scale.   Madrid: The Fauves   So I ended up being one of those people neglecting their website and blog during that intensive writing and editing of my dissertation. Since submitting it 17th November 2018, the waiting game has begun, unlike my colleagues in Science and Medicine where 6 week results was their norm. At 3 months and counting, I am busy writing journal articles, working on an adaptation of Hamlet for high school performances, and like Peter Brook, finding 2 hours 20 minutes seen t be the absolute minimum for Shakespeare's longest play (it really has no fat).
After an attitude renewing workshop with Nora Bateson on Liminal Intercontextual thinking, I feel so much less along after doing research which needs at least 4 areas of collaborative knowledge. Meanwhile.... positive thoughts, and there will undoubtably be some posts reviewing the last two years and going forward, which 2019 is doing in triple time! Cheers!    Looking forward to returning to Oxford to present:
JUST SAY NO! But then again you have to help those invaluable folks that are always there when I need them so on the Scenography front, popped in to help (very little but every little bit helps) Maureen Cartledge with her beautiful set at The Pavilion Theatre for On Golden Pond, and presented model for my set design for Hunter's Hill Theatre's production of Moonlight and Magnolias (directed by Maggie Scott) in November. Too busy to do much more than design and a bit of consulting, but the awesome and oh so capable Leigh Scanlan will take the reins with the M&M team to make this hint of a set model below happen.  
 Presenting at this years conference: "Medieval Pop: Warhol's Secular-Religio Iconography.
http://popcaanz.com/2016-conference-information/ Arrrrrrrrrrrr. With a passionate cast of 17 and a generous production team Jeremy Johnson's production of Stephenson's Treasure Island, adapted by Ken Ludwig is well on its way. Bump in begins Sunday, none too smoothly around Tag & Test. With able assistance I have until Dec 30 to knock this massive 8 location set out of the script and onto the boards. Let's hope I can get my UK paper and PPT out of the way before then. A miracle is needed but then, its a miracle that's even happening! Ahoy- plan now. Opening night is Feb 5th. More as we progress. http://paviliontheatre.org.au/treasure-island/  |
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