Conference | Collage, Montage, Assemblage, 1700–Present

Posted in conferences (to attend) by Editor on April 17, 2018

Collage, Montage, Assemblage: Collected and Composite Forms, 1700–Present
University of Edinburgh, 17–19 April 2018

Organized by Cole Collins and Freya Gowrley

T U E S D A Y , 1 7 A P R I L 2 0 1 8

14.00 Registration and Coffee

14.15 Exhibiting Collage
In Conversation: FREYA GOWRLEY and PATRICK ELLIOT

15.00 Collage in the Museum and Archive
ALLAN MADDEN (The University of Edinburgh), Piecing Together the Narrative: Une semaine de bonté in the library, the archive and the gallery
BRIDGET MOYNIHAN (The University of Edinburgh), Scrappy Contexts: Archival and Digital Interventions on the Edwin Morgan Scrapbooks

15.45 Collage and Subjecthood
TOM DAY (The University of Edinburgh), Jeff Keen, Pop Film Collagist
COLE COLLINS (The University of Edinburgh), Collage as Feminist Strategy and Methodology

17.00 Wine Reception

W E D N E S D A Y , 1 8 A P R I L 2 0 1 8

9.00 Registration and Coffee

9.35 Keynote
LUCY PELTZ (National Portrait Gallery, London), Facing the Text: An Introduction to Extra- Illustration in Britain from the Eighteenth to the Twentieth Century

10.40 Panel 1 | Publications
KAREN DI FRANCO (University of Reading and Tate Britain), The alchemical, the instruction, and the cut up: The performance of collage in the writing of Ithell Colquhoun, Carolee Scheemann, and Kathy Acker
HANNAH VINTER (Kings College London), Historical engagement as textual collage in Ursula Krechel’s Landgericht
ALISON HORGAN (University of Sheffield), ‘Gaudy colours’ and ‘disfigur’d shapes’: The patchwork and Thomas Percy’s Reliques of Ancient English Poetry (1765)
TOBIAS VOGT (Freie Universität, Berlin), Collage avant la lettre: Printed materials in drawings before 1900

10.40 Panel 2 | Bodies
LISA LEE (Emory University), Primal Gestures: Thomas Hirschhorn’s Ur-Collages
GRÁINNE RICE (The University of Edinburgh), ‘I can’t see the joins’: Collage and cut-up bodies in the work of Steven Campbell (1953–2007)
KATHERINE ISELIN (University of Missouri- Columbia), Erotic Aesthetics in Collage Inspired by Giulio Romano’s I Modi
KATIE ANANIA (Harvard University and Hunter College New York), Wheat Paste and Poor Taste: Carolee Schneemann’s Paper Performances, 1966–68

12.25 Lunch

13.25 Panel 3 | Materialities
CATRIONA MACLEOD (University of Pennsylvania), Writing with Scissors: Romantic Collage Poetics
LUCIE WHITMORE (University of Glasgow), Chic rag-and-tatter modes’: Remnant Fashions 1914–18
STEPHANIE KOSCAK (Wake Forest University), A Royal Tête-a-Tête: Decorating (and Decorating with) Engraved Pictures of Kings and Queens in Eighteenth-Century England
EKATERINA KOCHETKOVA (Lomonosov Moscow State University), Assemblage as Method of Garden-Making: The Case of Ian Hamilton Finlay

13.25 Panel 4 | Intimacies, Collaborations, and Emotions
BETHAN BIDE (Middlesex University), Stitching yourself back together: Finding memory, emotion, and creativity in the composite garments made under the ‘Make Do and Mend’ scheme in WW2 Britain
ROGER ROTHMAN (Bucknell University), Topographie Anecdotée du Hasard: A Multi-Authored Literary Collage
MAYA WASSELL SMITH (Cardiff University and National Maritime Museum), Cigarette Cards and the Sentimental: Sailor Collage in the Long Nineteenth Century
MADELEINE PELLING (University of York), ‘Your Affectionate Queen’: Queen Charlotte, Mary Delany, and the Art of Friendship

15.05 Coffee

15.35 Panel 5 | Legacies and Influences
FREYA GOWRLEY (Institute of Advanced Studies, Edinburgh), Reflective and Reflexive Forms: Intimacy and Medium Specificity in British and American Sentimental Albums, 1780–1850
IRENA KOSSOWSKA (Copernicus University in Torun and Polish Academy of Sciences in Warsaw), Modernist Synethesia and a Dialog with the Old Masters: Polish Photo-Collage and Photomontage of the 1930s
TALIA KWARTLER (The Museum of Modern Art, New York), Suzanne Duchamp’s Dada Collages, 1916–21
REBECA ACOSTA (Humboldt Universität, Berlin), ‘Composite Johnson’: Renderings of Samuel Johnson by John Hawkins and Vladimir Nabokov

15.35 Panel 6 | Technologies and Digitality
LUCY WHITEHEAD (Cardiff University), ‘Inlaid’ and ‘Intercalated’: Victorian Biography as Collage Form
BROOKE LEETON (University of Georgia), Meaning and/in Digital Collage
CRAIG BUCKLEY (Yale University), An Architecture of Clippings: Reyner Banham and the Redefinition of Collage
CAITLIN WOOLSEY (Yale University), Imaging Orality in the Sound and Visual Collages of Henri Chopin

17.30 Performance
FLORIAN KAPLICK, Kurt / ANNA \ Paul
A recital collage using texts from Kurt Schwitters and Paul Auster

18.30 Wine Reception

T H U R S D A Y , 1 9 A P R I L 2 0 1 8

9.00 Registration and Coffee

9.15 Panel 7 | Identities
RACHEL MIDDLEMAN (California State University, Chico), Collage as a Feminist Strategy in the Work of Anita Steckel
SUSAN LAXTON (University of California, Riverside), Psicofotógrafa: Grete Stern and the Administration of the Unconscious
KATE SCHNEIDER (University of Cambridge), A Short History of Postwar Reconstruction via Humphrey Jennings’s Swiss Roll Collages
BEATRIZ MANTEIGAS (University of Lisbon), Collage on the Life and Work of R.B. Kitaj

9.15 Panel 8 | Intermedialities
PATRICIA ZAKRESKI (University of Exeter), A Patchwork Novel: Tessellation and Women’s Writing in the 1870s
FLORIAN KAPLICK (Musician and Speech Performance Artist), Composing collages with texts and collaging compositions with music
CHRISTINA MICHELON (University of Minnesota, Twin Cities), Printcraft: Reclaiming and Renaming Early Collage Practices
DAVID NELSON (University of Pennsylvania), City of Paper: The Materiality of Montage in Alfred Döblin’s Berlin Alexanderplatz

10.55 Coffee

11.25 Panel 9 | Ethnographies and Geographies
ORLA FITZPATRICK (National Museum of Ireland), From the medieval to the modern: Decoration, collage, and photography in the album work of Lady Louisa Tenison (1819–1882)
MOLLY DUGGINS (National Art School, Sydney), Crafting the Colonial Environment through Album Assemblage
JOANNA PAWLIK (University of Sussex), Collaging Surrealism in Ted Joans’ The Hipsters (1961)
DEBRA HANSON (Virginia Commonwealth University in Qatar), Interventions: Collage, Black Bodies, and a New History of Modernism

13.10 Lunch

14.15 Panel 10 | Display and Dissemination
COLE COLLINS (The University of Edinburgh), Loss of Texture: Displaying the Collages of Kurt Schwitters
ROCÍO ROBLES TARDÍO (Universidad Complutense de Madrid), Mies van der Rohe: Working with Collage, Thinking about Replicas, 1939–43
KAYLEE ALEXANDER (Duke University), Cut, Copy, Paste: A Truthful Picture of the Paris Catacombs

14.15 Panel 11 | Historiographies
JESSICA BARNESS and STEVEN MCCARTHY (Kent State University and University of Minnesota, Twin Cities), Coding and Decoding: Collage as Communication Design Scholarship
ZOE KINSLEY (Liverpool Hope University), Coherence and Customisation in the Scrapbooks of Dorothy Richardson (1748–1819)
MATTHEW BOWMAN (University of Suffolk), Collage as Model
SAMUEL BIBBY (Art History), ‘How to present your ideas effectively and make them stick’: Historiography as Collage

16.00 Keynote
ADRIAN SUDHALTER (Art Historian and Curator, New York), The Museum of Modern Art’s 1948 Collage Exhibition

17.00 Closing Remarks