Thank you to all who participated in our 2018 conference!
5th Biennial Conference of the
International Association for Visual Culture
September 13 - 15, 2018
London College of Communication, University of the Arts London
Can we teach what we see? Can we see what we teach? How is the world changed, reaffirmed, or progressed through the visual? How does it slip back? What impact can thoughtful uses of images in teaching, scholarship, artistic, and political practice have on the future, as well as on the telling of history?
How can we as scholars, practitioners, educators, and concerned citizens of the world see ourselves as teachers of and through the visual, whatever our context?
The International Association for Visual Culture will feature papers and creative proposals that address the issues of visual pedagogies from different starting points that include but are not limited to:
The visual as a tool for teaching: i.e., teaching through showing, uses of interactive learning tools including Digital Humanities, using the classroom as a space for community involvement or public-facing projects;
Visual pedagogies as a political tool: from the protest image to leveraging an image as a tool for “militant research”;
The teaching of Visual Culture Studies: academia and visual culture, teaching and inventing diverging new methodologies in teaching the significance of visual literacy across disciplines, including the critical consumption and production of images;
Thinking through ways to “decolonize the classroom” in changes in course structure, assigned texts, and assessment;
Different challenges posed across visual media, both historically and in terms of the media themselves: film versus photography; prints versus text; digital versus postdigital;
Interrogating racism, gender and sexual discrimination, ableism, and religious, and ethnic persecution through visual pedagogies;
The significance of the visual in a world where “alternative facts” and “post-truth” discourse is infiltrating public discourse and threatening democracy;
The visual as a scientific instrument: We welcome proposals that tackle the questions of various scientific approaches to visual pedagogies;
Emancipation and the pedagogy of the visual: breaking the ‘all seeing eye,’ including both challenging the truth of the image, and introducing non-ocular-centrism to fields like Visual Culture Studies, Art History, Film Studies, artistic practice, and political engagement.
2016 / THE SOCIAL / BOSTON (convened by Lanfranco Aceti)
2014 / VISUAL ACTIVISM / SAN FRANCISCO (convened by Julia Bryan-Wilson, Jennifer González, and Dominic Willsdon with support from the SFMOMA)
2012 / NOW! Visual Culture / NEW YORK (convened by Nicholas Mirzoeff) 2010 / Inaugural meeting / LONDON
A GROWING LIST OF RESOURCES RELATED TO OUR CONFERENCE THEME
This blog written by Emily Pringle, Head of Learning Practice and Research at the Tate, explores what it means to be a practitioner researcher in the art museum. It looks at how research is undertaken in art museums today and by whom and explores how we might expand on current models to re-shape and broaden our understandings. Pringle’s background is in gallery education and research and she has a longstanding interest in widening access to art through supporting visitors and curators to engage in processes of shared enquiry. Pringle sees value in framing the gallery as a space for research-led practice where museum professionals can operate as practitioner researchers, working with audiences and colleagues to co-produce new knowledge.
I am for an art history that…
Inspired by Claes Oldenburg’s brilliant non-manifesto “I Am for an Art…” (1961), our crowd-sourced manifesto is an open-ended exercise in aspirational literary wish-fulfillment. By participating, your sentence will be included, and your name will be added to the growing list of authors.
Art History Teaching Resources (AHTR) is a peer-populated platform for art history teachers. AHTR is home to an evolving and collectively authored online repository of art history teaching content including, but not limited to, lesson plans, video introductions to museums, book reviews, image clusters, and classroom and museum activities. The site promotes discussion and reflection around new ways of teaching and learning in the art history classroom through a peer-populated blog and fosters a collaborative virtual community for art history instructors at all career stages.
Visiting the Museum Learning Resource (from Art History Teaching Resources)
While most students understand that objects inside museums have important cultural, ideological, economic, and art historical value, they don’t always recognize the role of these institutions to shape and reinforce such values. AHTR’s Visiting the Museum Learning Resource aims to help students think more critically about the broader implications of art museums and to better understand their integral relation to the study and practice of art history.
This article in the Chronicle of Higher Education features a number of databases for finding women working in history, political science, neuroscience, astronomy, and physics. It also includes a link to the People of Color Also Know Stuff social media pages, which inspired the historian and political scientist databases. An excellent start to greater inclusion in our syllabi and public discussions.
An article first posted on Artsy in 2016 about how to work with children in an art's context.
Art History Pedagogy & Practice (AHPP) is a peer-reviewed, open-access e-journal dedicated to advancing teaching and learning in art history. The journal provides a forum for scholarly discourse that articulates and presents the range of pedagogical methods for learners in formal, informal, and virtual learning environments. Art History Pedagogy & Practice embraces multiple research models that examine the effectiveness of instructional strategies and technologies that build the skills, theories, concepts, and values necessary to art historical practice. Art History Pedagogy & Practice also fosters exchange between art history and allied fields including art and museum education, studio art and design, visual and material culture, and the digital humanities by considering the role of technology and the material object to enhance understanding and intellectual development.
Smarthistory is a collaboration of more than 200 art historians, archaeologists, curators and other specialists who want to make the highest-quality art history learning content freely available to a global audience. Contributing editors oversee specific content areas.
Clemente provides free, accredited college courses in the humanities to those marginalized by economic hardship and adverse circumstances. Using the Socratic method, the Clemente Course provides a rigorous education in literature, philosophy, American history, art history, and critical thinking and writing. The experience of Clemente students around the world has demonstrated that through the dialectics of learning, in a caring and respectful classroom, participants develop crucial tools to set in motion personal and societal change, and are empowered to participate more fully in civic life.