Dr. Peter Muir Art Historian and Lecturer in Contemporary Art History: Research Profile
http://open.academia.edu/PeterMuir
Monday, 26 November 2012
Peter Muir Art Historian and Lecturer in Contemporary Art History
Dr. Peter Muir Art Historian and Lecturer in Contemporary Art History: Research Profile
http://open.academia.edu/PeterMuir
Monday, 25 June 2012
Dr. Peter Muir will be speaking at the University of Copenhagen and ARKEN Museum of Modern Art, Ishøj
Dr. Peter Muir will be speaking at the international interdisciplinary conference 'Migration, Memory and Place,' 5-7 December 2012 at the University of Copenhagen and ARKEN Museum of Modern Art, Ishøj.
‘Memory, Myth and Idealization in the work of Lubaina Himid’
http://migrationandculture.ku.dk/migrationmemoryandplace/program/
http://www.arken.dk/content/us/
http://migrationandculture.ku.dk/documents/MMP_Panels_and_Abstracts_FINAL_WEB.pdf/
‘Memory, Myth and Idealization in the work of Lubaina Himid’
http://migrationandculture.ku.dk/migrationmemoryandplace/program/
http://www.arken.dk/content/us/
http://migrationandculture.ku.dk/documents/MMP_Panels_and_Abstracts_FINAL_WEB.pdf/
Monday, 9 April 2012
Peter Muir will be speaking on Jacob Epstein’s British Medical Association sculptural series
Peter Muir will be speaking on Jacob Epstein’s British Medical Association sculptural series at the conference ‘Re-Writing Objects & Histories of Sculpture,’ The Courtauld Institute of Art, London (11-12 May 12)
CONVERSION, ICONOCLASM AND REVOLUTIONThe discourse surrounding the traumatic events leading to the removal,transport and relocation of sculpture often centres on the acts ofdestruction associated with revolution and iconoclasm. However, thechanges resulting from re-use and conversion, whether spiritual,functional or symbolic, are as important to our understanding of theobjects and locations of sculpture in their surviving states as are therecords and physical traces of loss. This session approach issues raised by changes made to sculpture in situ, objects whose location has remained static whilst their function has been altered, and the disfigurement, dismemberment and disguise of sculpture in the face of radically shifting social and political contexts.
The Courtauld Institute of Art, Somerset House, Strand, London WC2R
0RN, May 11 - 12, 2012
http://www.courtauld.ac.uk/researchforum/events/2011/autumn/ThreeDimensions.shtml
CONVERSION, ICONOCLASM AND REVOLUTIONThe discourse surrounding the traumatic events leading to the removal,transport and relocation of sculpture often centres on the acts ofdestruction associated with revolution and iconoclasm. However, thechanges resulting from re-use and conversion, whether spiritual,functional or symbolic, are as important to our understanding of theobjects and locations of sculpture in their surviving states as are therecords and physical traces of loss. This session approach issues raised by changes made to sculpture in situ, objects whose location has remained static whilst their function has been altered, and the disfigurement, dismemberment and disguise of sculpture in the face of radically shifting social and political contexts.
The Courtauld Institute of Art, Somerset House, Strand, London WC2R
0RN, May 11 - 12, 2012
http://www.courtauld.ac.uk/researchforum/events/2011/autumn/ThreeDimensions.shtml
Photographs by Peter Muir
Monday, 2 January 2012
Shimon Attie's Writing on the Wall: History, Memory, Aesthetics: Book Review
Shimon Attie's Writing on the Wall: History, Memory,
Aesthetics: Book Review
Peter Muir book review from PHILOSOPHY NOVEMBER 2010 VOLUME
25, NUMBER 4 ISSN 0887-3763 begin_of_the_skype_highlighting 0887-3763
end_of_the_skype_highlighting
Shimon Attie's "Writing on the Wall: History, Memory,
Aesthetics
Muir, an art historian and Open University lecturer, analyzes Shimon Attie's "Writing on the Wall" as installation in the Scheunenviertel of Berlin and as a photographic exhibit. These photographs of Jewish life in Berlin from the 1920s and 1930s were shown in 1992 projected upon the buildings by which they were originally taken. The images were then photographed. Muir bases his analysis on recent critical theory and Benjamin's "On the Concept of History." The metaphors of space and memory are employed to show the many layers of this work. Muir does not ignore the sense of tragedy deriving from the knowledge in the viewer that all these people and places were destroyed in the Holocaust. As a comparison to the evocative images from 1992, Muir includes his own pictures of the same sites, taken in 2009. He has created a fine
explication of how art, historical context and emotion combine to project a meaning greater than any one component. Annotation ©2010 Book News, Inc., Portland, OR (booknews.com)
Aesthetics: Book Review
Peter Muir book review from PHILOSOPHY NOVEMBER 2010 VOLUME
25, NUMBER 4 ISSN 0887-3763 begin_of_the_skype_highlighting 0887-3763
end_of_the_skype_highlighting
Shimon Attie's "Writing on the Wall: History, Memory,
Aesthetics
Muir, an art historian and Open University lecturer, analyzes Shimon Attie's "Writing on the Wall" as installation in the Scheunenviertel of Berlin and as a photographic exhibit. These photographs of Jewish life in Berlin from the 1920s and 1930s were shown in 1992 projected upon the buildings by which they were originally taken. The images were then photographed. Muir bases his analysis on recent critical theory and Benjamin's "On the Concept of History." The metaphors of space and memory are employed to show the many layers of this work. Muir does not ignore the sense of tragedy deriving from the knowledge in the viewer that all these people and places were destroyed in the Holocaust. As a comparison to the evocative images from 1992, Muir includes his own pictures of the same sites, taken in 2009. He has created a fine
explication of how art, historical context and emotion combine to project a meaning greater than any one component. Annotation ©2010 Book News, Inc., Portland, OR (booknews.com)
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