Not too long ago, I had posted about the call for papers for the 2012 College ArtAssociation conference, which will be held in Los Angeles in February 2012. I just received word that my proposal was accepted, so I'll be heading to LA in about 8 months from now. The first time I went there was in 2001 for the annual conference of the Art Libraries Society of North America. I confess I'm not a big fan of the city (how many NYers really are?), but it was fun to see things like Hollywood and a few stars on the Walk of Fame (image above: Brian L's Picasa stream). In any case, it will be good to go back. I proposed a paper for the session "Future Directions in the History of British Art," which celebrates the 20th anniversary of the organization the Historians of British Art by looking forward to innovative modes of art historical inquiry in the field. My paper is tentatively entitled "Reconsidering John Gibson, Remolding British Sculpture," and will show how my research on Gibson offers us new and expansive models for reexamining the study of British sculpture itself. But there's time for all that. For now, it's back to readings for my YCBA seminar on the Artist's Studio in Britain.
Wednesday, June 8, 2011
CAA in LA
Not too long ago, I had posted about the call for papers for the 2012 College ArtAssociation conference, which will be held in Los Angeles in February 2012. I just received word that my proposal was accepted, so I'll be heading to LA in about 8 months from now. The first time I went there was in 2001 for the annual conference of the Art Libraries Society of North America. I confess I'm not a big fan of the city (how many NYers really are?), but it was fun to see things like Hollywood and a few stars on the Walk of Fame (image above: Brian L's Picasa stream). In any case, it will be good to go back. I proposed a paper for the session "Future Directions in the History of British Art," which celebrates the 20th anniversary of the organization the Historians of British Art by looking forward to innovative modes of art historical inquiry in the field. My paper is tentatively entitled "Reconsidering John Gibson, Remolding British Sculpture," and will show how my research on Gibson offers us new and expansive models for reexamining the study of British sculpture itself. But there's time for all that. For now, it's back to readings for my YCBA seminar on the Artist's Studio in Britain.
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