{"word_count": 947, "character_count": 6664}
L’INHA et la Terra Foundation for American Art ont mis en place un ambitieux programme qui permet à un post-doctorant d’enseigner en France pendant deux ans, et à deux professeurs d’université de séjourner deux mois, afin de favoriser un enseignement dispensé en anglais sur l’histoire de l’art américain et les échanges transatlantiques, et de structurer un champ de recherches correspondant. Tous les deux ans, un appel à candidatures de consortiums d’accueil est lancé auprès des établissements d’enseignement supérieur et de recherche, et un jury scientifique nommé par l’INHA étudie les dossiers afin de sélectionner les lauréats. Dans un second temps, le consortium lauréat associé aux deux partenaires institutionnels organise les modalités de recrutement du post-doc et des professeurs. L'équipe InTRu est retenue pour ce programme pour la troisième fois consécutive.Sous la direction scientifique d’Annie Claustres, Conseiller Scientifique pour le domaine Histoire de l’art contemporain XXe-XXIe siècle à l’INHA. Le LARCA est le porteur principal du consortium lauréat 2013-2015; François Brunet, professeur à l'UFR d'Etudes anglophones (Paris Diderot), en est le coordinateur principal.L'enseignement ainsi que la recherche de la post-doctorante, Sarah Archino, et des deux professeurs invitées, Jennifer Greenhill et Wendy Bellion, rencontrent les nombreuses thématiques des axes développés au sein du LARCA (Paris Diderot) et de l'InTRu.&#160;Post-Doc lauréat 2013-2015Sarah Archino, university of New York (research project : Constructiong American Identity : Anarchism and the Vernacular)Séminaire de Sarah Archino, université Paris-Ouest Nanterre La DéfenseAnarchism and American Culture"Whether or not anarchism should be considered antithetical to the puritanical roots of American identity, this seminar will consider its importance to the formation of a national American culture in the 19th and 20th centuries, and especially in the Modernist period. Beginning in the mid-19th century, we will discuss the anarchism (and/or libertarianism, individualism and anti-authorianism) of authors such as Ralph Waldo Emerson, Henry David Thoreau, and Walt Whitman, before addressing how this current of thought informed American art, particularly modernism of the 20th century. We will thus examine the importance of anarchism in American art in general, and the influence of a specifically American brand of anarcho-individualism on Modernism in particular. In our discussion of the avant-garde in New York, we will address the impact of anarchistic thought on contemporary understandings of European modernism, public reception and press coverage of modern art, and the formulation of American modernism. Both explicitly political and philosophical/aesthetic approaches to anarchism will be explored, especially among the members of the Henri School, Ferrer Center, and Stieglitz circle. Substantial reading and active participation in English will be required of all students." Sarah ArchinoLes séminaires auront lieu à l’INHA, les mardis de 15 h à 17 h, en salle Walter Benjamin (premier semestre de l’année universitaire 2013-2014)Conférence de Sarah Archino, université François Rabelais de Tours (InTRu)Don’t believe what you read: Dada goes to the presses"For European artists Marcel Duchamp and Francis Picabia, the sensationalist newspaper coverage of the Armory Show marked their first encounters with American culture; this discussion will examine how these artists and others interacted with the mainstream press and the influence of this media coverage on their own production while in New York during the 1910s. Internationally, the Dada movement harnessed the written word as a tool of artistic production. When compared to the sustained literary production of Zurich Dada or the political agitation of Berlin Dada papers, the publications of New York Dada, which were often humorous in tone and published erratically or as single numbers, may initially seem less significant. This talk will examine how Dadaists in America used the press – both mainstream newspapers and their own publications – to question the institutions of art as well as the structure and content of this printed, public medium. We will look at works from within the Dadaist canon, including The Blind Man and New York Dada, as well as contemporary publications not always associated with Dada, such as Robert Coady’s The Soil." Sarah ArchinoCette intervention a pour cadre le séminaire de méthode de l’équipe de recherche InTRu, “Subversions”, 11 mars 2014, 17h-20h.Table ronde dans le cadre de l’équipe de recherche InTRu, « Subversions »le 25 mars 2014, 17h-20h, avec Sarah Archino, François Brunet, Annie Claustres, Christian Joschke, France Nerlich&#160;Journée d’études internationale, le 27 mars 2013, INHA, salle Vasari, 9h-19h[en préparation]&#160;Professeur invité 2013-2014Jennifer Greenhill, Assistant Professor of Art History, Criticism + Interpretive Theory, University of Illinois at Urbana-Champaign (research project : The Commercial Imagination: American Art on Demand, 1900 – 1950)8 avril : intervention de Jennifer Greenhill, Tours, séminaire de l'équipe de recherche InTRu, "Subversions", 17-20h: “Translating Jokes across Cultures and Media: the Case of Artemus Ward in London”&#160;This lecture explores the challenge of telling jokes (and studying them) across cultures and media. It focuses on a little experimental volume published in 1869, Artemus Ward’s Lecture (As Delivered at the Egyptian Hall, London), which attempts to preserve the hilarity of a recently deceased American humorist, Charles Farrar Browne, known as “Artemus Ward,” the character who made President Lincoln laugh during the Civil War and inspired Mark Twain as he developed his own comic techniques. Excessive in its contrivances, the book demonstrates the inevitable awkwardness of intermedial and intercultural translation projects, especially those focused on preserving the subtleties of comic performance and the interactivity of the theatrical encounter. By examining the book’s layout, illustrations, and typographical variation in the context of mid-nineteenth-century publishing conventions, European conceptions of American culture, and Artemus Ward’s trademark deadpan style of comic delivery, Greenhill will demonstrate the rich complexity of such translation projects and their relevance to the work of contemporary historians of humorous expression.&#160;Professeur invité 2014-2015Wendy Bellion, Associate Professor of Contemporary Art History, University of Delaware (research project : What Statues Remember: Iconoclasm and Ritual in New York City)