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Event date
Saturday, July 5, 2008 - 12:00

Steve Edwards, Documents and Pictures  Steve Edwards explores some of the antimonies or contrasts that have shaped photography from its origin in the nineteenth century to the present. This short survey presentation provides an introduction to ideas and photographic practices relevant for this study day. Suggested Further Reading Steve Edwards, 'Profane illumination': Photography and photomontage in the USSR and Germany, Steve Edwards & Paul Wood eds, Art of the Avant-Gardes, Yale University Press, 2004, pp.395-425

Event date
Saturday, March 28, 2009 - 13:00

Round Table and Q&A chaired by Gill Perry  Gill Perry is Professor of Art History at the Open University.

Event date
Saturday, March 28, 2009 - 13:00

David Mabb, William Morris and the Constructivists. What went wrong?  David Mabb has recently discovered through extensive research of newly opened up archives in Kelmscott and Moscow, that William Morris, Kasimir Malevich and the Constructivists secretly developed an extensive collaborative body of work that has until recently remained completely hidden from public view. In his presentation Mabb examines some of the many paintings, videos and photographs that make up this collection. He will explain his own role in their discovery, mount a critique of the works' limitations and suggest some possibilities for what the artists might have been trying to achieve.

Event date
Saturday, March 28, 2009 - 13:00

Margarita Tupitsyn, A Russian Journey of the Grid  Constructivism had developed its own genealogy of the key modernist emblems such as the grid, and the monochrome as well as theorized on the status of the everyday object in the field of aesthetics. This talk presents a case of the resuscitation and redefinition of the grid's visual and theoretical formats through the work of artists associated with the Moscow conceptual circle in its past and current "membership."

Event date
Saturday, March 28, 2009 - 13:00

Brandon Taylor, Looking from the Left From Line to Construction: Rodchenko's Laboratory of Form  From the earliest straight-line paintings of 1917 and 1918 through to Rodchenko's article 'The Line' of 1921, lines alone summarised the ambitions of Constructivism for efficiency, simplicity and functionality - and for energy, direction and speed, all metaphors of a new art and a new attitude to three-dimensional form in the real environment.We shall look carefully at the 'laboratory' attitudes of Rodchenko and Popova in their efforts to transcend painting, but with the resourc

Event date
Saturday, March 28, 2009 - 13:00

Round Table and Q&A chaired by Ben Borthwick  Ben Borthwick, Assistant Curator at Tate Modern, has worked alongside Dr. Margarita Tupitsyn on Rodchenko and Popova: Defining Constructivism.

Event date
Saturday, March 28, 2009 - 13:00

Alexander Lavrentiev, The Three Constructivisms of Alexander Rodchenko Discussed are the three levels of the constructivist concept developed by Alexander Rodchenko. Constructivism as the way of life and behavior, organization of the artist's own environment and his workshop. Constructivism as the practical environment for everyday life (architecture, interior, communication design) and ideally organized project planning.Constructivism as exploration through art.

Event date
Saturday, March 28, 2009 - 12:00

Christina Lodder, Liubov Popova: From Painting to Textile Design  This paper will consider Popova's engagement with textile design, focusing especially on the four years 1921-1924, which include the paintings that she was producing over this period, the theoretical context of her entry into design, as well as the actual designs that she executed for the First Textile Printing Factory (formerly the Tsindel factory) in Moscow between the summer of 1923 and her death in 1924.

Event date
Saturday, March 28, 2009 - 12:00

Steve Edwards, Looking from the Left  Steve Edwards provides an introduction to this study day on Soviet Constructivism by asking what it means to look from the Left.

Event date
Thursday, October 22, 2009 - 17:30

Taking place within the Gallery, this discussion explores themes related to Mohamedi's work, including calligraphy, geometry and urbanism. Born in Karachi, India (now Pakistan) in 1937, Mohamedi created a highly developed language from the 1950s to the 1980s. Early drawings often suggest plants and trees, before the artist focused on creating variations around the grid format; later works present free-floating geometric forms that evoke futuristic, mechanical or architectural devices.

Event date
Monday, April 27, 2009 - 17:30

Join Vicente Todolí, Director of London’s Tate Modern and Jon Thomson, artist and Head of MA Fine Art at Middlesex University as they discuss the work of James Lee Byars with Michael Stanley, former Director of Milton Keynes Gallery.

Event date
Saturday, January 31, 2009 - 15:00

Join Polly Apfelbaum and David Batchelor as they discuss Apfelbaum’s work. David Batchelor is an artist and writer (author of the book Chromophobia, 2000) and participated in the Folkestone Triennial, 2008.

Event date
Saturday, June 12, 2010 - 09:30

Organised in collaboration with the Open University, this study day explored the role and practice of collaboration in the making of art and design during the Renaissance. The day examined collaborations between centres of production and between individuals, as well as the overlaps and exchange between different media, disciplines and countries. It included talks relating closely to the new Medieval and Renaissance Galleries by curators and conservators from the project team, and art historians from the Open University.

Event date
Friday, March 12, 2010 - 10:00
Location
Liverpool

Descent from the Cross - 1866The course team for the Open University Art History Course Renaissance Art Reconsidered, AA315, began an annual collaboration with the Walker Art Gallery in 2009. An Open University art history lecturer gives a Friday lunchtime lecture based on one of the works in the Walker Art gallery.

Event date
Wednesday, November 26, 2008 - 19:00

In this exclusive talk, Gilberto Zorio discussed his work and practice with Germano Celant and Mark Godfrey. Celant is a curator and art critic and at the time of recording, was Senior Curator of Contemporary Art at the Solomon R. Guggenheim Museum in New York. Celant is well known for his theory on Arte Povera (introduced at the Bertesca-Masnata Gallery, Genoa, 1967). He has regularly contributed to the magazines Artforum and Interview. Mark Godfrey is a former Lecturer in Art History and Theory at the Slade School of Art, London and a curator at Tate Modern.

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