![]() The performance still is often what most of the art historical research of a given work is based on, as an original performance is impossible, a copy of a video performance is difficult to obtain. Session Chairs: Miriam Kienle, University of Illinois, Urbana-Champaign Claire Kovacs, Canisius College Lauren Applebaum, University of Illinois, Urbana-Champaign.ΔΆ sessions chaired at the Southeastern Art Conference Annual Meeting, Pittsburgh, 2015: With the development of performance and video performance art in the 1960s, a new, hybrid art form began to emerge: the performance still. All disciplines, periods, and perspectives are encouraged to submit proposals. This session calls for short paper presentations, to be followed by a productive discussion/debate amongst presenters and attendees about the ramifications of social network science within art historical discourse. This session therefore asks: How can the concepts of network science be applied to art historical research? What new questions might be drawn from an exploration of social networks of the past? And how might artistic production itself be an instrumental component of, or even a vehicle for, networked action? We aim to consider the ways and means that network science might be used as a methodological tool of inquiry within the discipline of art history, and as a space to consider how networks have been understood historically both by artists and art historians. ![]() Networks, however, represent nodes and edges, at times obscuring the social realities in between, and art historical scholarship on them has been critiqued for its lack of attention to art objects themselves. ![]() With the revision of canonical accounts of art history and the rise of digital humanities over the past two decades, networks have emerged as useful tools for visualizing the redistribution of dominant art historical narratives. ![]()
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