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Art & Art History

Date: 8:00pm EDT April 18, 2013

“Manipulated Landscapes” with Mark Cheetham

“Manipulated Landscapes and National Boundaries,” April 18, 8:00 p.m., Casey Academic Center Forum

Mark A. Cheetham’s research centres on the imbrications of artwriting and art making in the modern and contemporary periods. He has written books and articles on abstract art, the reception of Immanuel Kant’s thinking in the visual arts and the discipline of art history, on art historical methodology, and on recent Canadian and international art. The historiography and methodology of art history and the emerging field of Visual Culture is an ongoing research interest, as is contemporary art in Canada and abroad, from both curatorial and academic perspectives. His current work is on English cosmopolitanism in art theory since the 18th century and on GeoAesthetics.   Cheetham is the recipient of a John Simon Guggenheim Memorial Fellowship, a Sterling & Francine Clark Art Institute Fellowship, a University of Toronto Connaught Research Fellowship, several Social Sciences and Humanities Research Council of Canada research grants, the Edward G. Pleva Award for Excellence in Teaching (University of Western Ontario, 1998), and the Northrop Frye Award for teaching (University of Toronto, 2006). In 2006, he received the Art Journal Award from the College Art Association of America for “Matting the Monochrome: Malevich, Klein, & Now.” In 2008 he takes up the Chancellor Jackman Research Fellowship in the Humanities.


Co-sponsored by the Center for Environment and Society

This lecture will examine the border issues central to understanding contemporary art that seeks to engage environmental questions. How can undeniably planetary concerns with ecology be addressed effectively by artists and works that are, by contrast, perennially identified with a particular country? However cosmopolitan their demeanour, ecologically minded artists also produce work that typically emphasizes the specificities of place. Contemporary eco art therefore puts pressure on an habitual and perhaps outmoded art historical category, the nation. Yet as I will suggest, the nation is not only a holdover from the rise of art history as a modern discipline but perhaps also – if rethought – a useful rubric through which to formulate issues addressed by eco art today.