Prof Nora Goldschmidt from the Department of Classics presents the second of the our CVAC 'Research Showcase' events.
The first CVAC event of 2022 will take place on Tuesday 18 January 2022 at 4pm. Dr Nora Goldschmidt from the Department of Classics and Ancient History will be speaking in a research conversation about Modernist Fragments at the British Museum: Making, Consuming, and Curating Classical Greek Sculpture. The research conversation will be chaired by CVAC co-director Dr Tom Stammers and will be responded to by Dr Martina Piperno from the School of Modern Languages and Cultures.
CVAC's Research Conversations bring Durham academics from different disciplines together to share work-in-progress and discuss new research in visual arts and culture. These Research Conversations will take place both in-person (subject to University guidance this will be held in Room 039, Teaching and Learning Centre) and online via Zoom. Due to current coronavirus restrictions, attendance in person is limited to staff and students at Durham University.
Register for the series here: https://forms.office.com/r/Xa9NnKCPz4 (N.B If you registered for the first conversation with Dr Hansun Hsuing you do not need to re-register).
Modernist Fragments at the British Museum: Making, Consuming, and Curating Classical Greek Sculpture
The British Museum was a magnet for visual artists looking to ‘make it new’ around the opening decades of the twentieth century. The extra-European material in the collections shaped the London work of sculptors including Henri Gaudier-Brzeska and Jacob Epstein, and the museum has therefore tended to be seen as a site for an artistic revolution ‘with its origins very far indeed from classical Greece’ (Arrowsmith, Modernism and the Museum). But the role of classical Greek material in the art of the period — and especially in the evolution of the modernist fragment — is far more central than that comment suggests. Despite the rhetoric of repudiation by artists and writers themselves, the classical Greek sculpture they saw in museum collections powerfully shaped modernist fragment-making. Moreover, the process did not only work in one direction: the modernist aesthetic of the fragment, in turn, helped to shape the increasingly fragmentary display of damaged classical material in the British Museum.