22nd
International Sculpture Conference: CALL FOR PAPERS London, UK –
April 2010 - Deadline: 4th June 2009
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| 22nd International Sculpture Conference |
| What is Sculpture in the 21st Century? |
| London, 7-9th April 2010 |
| The ISC's 22nd International Sculpture Conference will
explore and consider the potential of sculpture in the 21st century -
to provide an opportunity to both celebrate its vitality and diversity,
its capacity to challenge, and to examine its current position,
function and production. |
| The
ISC is currently soliciting papers/panel topics for its 22nd
International Sculpture Conference being held in London, UK in April
2010. |
| Individuals are invited to submit proposals for papers
and panel discussions that provoke critical exchange and debate in
relation to the broad thematic areas referred to below and outlined on the ISC's website. |
| Submissions are
encouraged that support opportunities for interaction between
participants and enable the conference to engage in a truly
international exchange of ideas and viewpoints. |
Individuals wishing to contribute panel abstract
proposals for the 22nd International Sculpture Conference must submit a
200 word abstract for review by the Conference Advisory Committee.
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| Abstract submission deadline is June 4, 2009. Abstracts
received after the submission deadline will automatically be placed on
the waiting list |
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Phillip King. Cup Drift. Ceramic. 1995
Image courtesy of Bernard Jacobson Gallery Ltd |
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For questions
contact events@sculpture.org - t. USA (+1) 609-689-1051 x302 |
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| Themes / Agendas |
'The languages of Sculpture:
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| Since William Tucker's
highly regarded book “The Language of Sculpture’ was published in 1974,
the term ‘sculpture’ within contemporary art encompasses an
increasingly diverse range of practices that resists easy
categorization, definition or a dominant set of principles. |
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numerous successful practitioners can be seen to be part of a long
sculpture tradition, many influential contemporary artists employ
varied and eclectic methods and approaches in the production of
artworks that engage with spaces, contexts and audiences in which the
currency, nature and relevance of the term sculpture remains open to
question. |
| • How and in what way is the development of
Sculpture influenced in relation to digital media – light/sound/video
and through hybrid and interdisciplinary forms of
performance/actions/site based installation? |
| • To what
extent has the curator’s agenda shaped the language and reception of
sculpture and how has this influenced current developments? |
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| Public perception and investment: |
| The scale of, and investment in ambitious commissions
of permanent and temporary sculpture as part of city and regional
cultural regeneration over the past two decades has been unprecedented.
Matched by an expanding audience for contemporary art, internationally
recognised artists have produced innovative artworks that have set new
standards and expectations in the field of public art. |
| • How has the commissioning process and
policies for major public projects adapted to this growth, and how has
this influenced new ways and methods of working? Are there more
appropriate ways to involve and engage artists in development schemes
that value and promote sustainability and opportunities for young
artists? |
| • To what extent has the lack of exposure and
critique of public sculpture in the art press limited necessary debates
in the field, and how well is the impact and investment of projects
evaluated in order to gauge it’s temporary or long term success? |
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| The State of Education: |
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many UK Universities and colleges sculpture has been incorporated into
holistic Fine Art courses that embrace an inclusive approach to
cross-disciplinary practice reflecting current tendencies and
attitudes. The economics, viability and relevance of maintaining three
dimensional making in schools is having an impact on recruitment to
Further and Higher Education for subjects such as Sculpture and
Ceramics. |
| • Is the curriculum and support for
sculpture changing within the art school and to what extent does this
mirror the changes that are taking place in the artist's studio? |
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How can sculpture, its production and critical development be
maintained and enhanced - can global differences and international
exchange provide examples of good practice in education? |
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| The above has been
written to prompt and suggest possible platforms for discussion and
debate. The ISC welcomes responses that extend and develop these themes
in areas that will engage delegates in sharing different perspectives
and provoke speculation about the future direction and development of
Sculpture in the twenty first century. |
| For complete abstract guidelines and requirements or to submit your paper please visit the ISC's website |
| For questions email events@sculpture.org or call USA 609-6891051 x302. |
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