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The Dark Knight Returns<br />Neomedieval Art after Britain<br />www.neilmulholland.co.uk<br />
Geopolitical Neomedievalism<br />
The New Medievalism<br />“A system of overlapping authority and multiple loyalty.” (Bull: 245) 1977<br />
Commission by ‘English’ artist Hans Holbein<br />Commission by ‘German’ artist Liam Gillick<br />
Neomedieval Cultural Ecologies<br />
Neomedieval Aesthetics<br />
Neomedievalism<br />Umberto Eco, &quot;Dreaming the Middle Ages,&quot; in Travels in Hyperreality (1973).<br />&quot;..we ...
Spartacus Chetwynd <br />Marcus Coates<br />
Olivia Plender<br />The Folly of Man Exposed or the World Upside Down, 2006, Details<br />35 Warrender Park Road<br />
Disclosures II: The Middle Ages, <br />Laxton September 2008 - part of Histories of the Present produced by Nottingham Con...
Michelle Cotton (Curator)The Long Dark (2009)Castlefield Gallery, Manchester<br />
Torsten Lauschman<br />The Darker Ages<br />Mary Mary, Glasgow, <br />until Sat 21 Nov 2009<br />
Martin Clark, Artistic Director, Tate St Ives; Michael Bracewell, writer and critic and Alun Rowlands, artist, writer and ...
Alex Pollard<br />       Robin Hood Vortex (2008)<br />                             Oil on Canvas<br />Alex Pollard and Cl...
Plastique Fantastique <br />Ribbon Dance Ritual to call forth the Pre-Industrial Modern <br />part of The Event in Birming...
Spartacus Chetwynd Mime Troupe (left)<br />Spartacus Chetwynd Mime Troupe Feminism, Little Tales of Misogyny.<br />Sequenc...
Eric Raymond (1999)<br />
‘Cathedral’ model neomedievalism <br />
‘Bazaar’ model neomedievalism <br />
Vince Koloski <br />A Maze Book (2000) <br />Neon, Carved acrylic sheet, Wood, Circuit board, and toy mazes<br />
Slides available at www.neilmulholland.co.uk<br />Licensed under a Creative Commons Attribution-Non-Commercial-Share Alike...
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The Dark Knight Returns - Neomedieval Art After Britain

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Presentation for CAA 2010 Conference in Chicago
http://conference.collegeart.org/2010/

Historians of British Art British Art: Survey and Field in the Context of Glocalization
Chair: Colette Crossman, independent scholar, Arlington, Virginia

The recent three-volume History of British Art published by the Yale Center for British Art and Tate Britain invites reflection on how art historical surveys situate British art in political, economic, social, and cultural processes that affirm, vex, and otherwise relate “glocally,” integrating global, regional, and local contexts. What is “glocal” in the
historiography, narratives, and methodologies of British art surveys and the ways they lend coherence to a field, blur its boundaries, or position its subject in the mainstream or margins of art history? How
do they treat subjects and subjectivities—citizen, immigrant, emigrant, diasporian, tourist—that bridge local and global through lineage, heritage, memory, and travel? To what effects do they distinguish what is non-British or serve readers outside Britain? In what ways do British
art surveys or British art in world art surveys advance nonart glocal political, economic, or social relationships?
------------------------
Neomedieval Art after Britain
Neil Mulholland, Edinburgh College of Art

Discourses of “British art” are suspended in a geopolitical vacuum that is blind to constitutional changes that have taken place in the United Kingdom since the fin de siècle devolution settlements. These discourses share the common fallacy of assuming that “Britain”—as a
euphemism for a state and as a cultural imaginary—continues to exist as locus of meaningful cultural debate. In fact, since the mid-1960s, the
Keynesian bureaucracy designed to promote the imaginaries of British art has been gradually dismantled, replaced by new European, national,
regional, and transurban cultural technocracies. This is a symptom of neomedievalism—overlapping microgeographies supplanting unilateral
colonial narratives such as “Britishness.” To understand and envisage the cultural implications of the “Balkanization of Britain,” this paper
critically compares the 2009 Venice Pavilions of Britain, Scotland, Wales, Ulster, and the English Regions, foregrounding a neomedieval
self-reflectiveness as the basis of a post-British alterity.

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The Dark Knight Returns - Neomedieval Art After Britain

  1. 1. The Dark Knight Returns<br />Neomedieval Art after Britain<br />www.neilmulholland.co.uk<br />
  2. 2. Geopolitical Neomedievalism<br />
  3. 3. The New Medievalism<br />“A system of overlapping authority and multiple loyalty.” (Bull: 245) 1977<br />
  4. 4.
  5. 5.
  6. 6.
  7. 7.
  8. 8.
  9. 9.
  10. 10.
  11. 11.
  12. 12. Commission by ‘English’ artist Hans Holbein<br />Commission by ‘German’ artist Liam Gillick<br />
  13. 13.
  14. 14.
  15. 15. Neomedieval Cultural Ecologies<br />
  16. 16.
  17. 17.
  18. 18.
  19. 19.
  20. 20.
  21. 21. Neomedieval Aesthetics<br />
  22. 22. Neomedievalism<br />Umberto Eco, &quot;Dreaming the Middle Ages,&quot; in Travels in Hyperreality (1973).<br />&quot;..we are at present witnessing, both in Europe and America, a period of renewed interest in the Middle Ages, with a curious oscillation between fantastic neomedievalism and responsible philological examination...&quot;<br />Luke Collins<br />Cee Face (2005)<br />
  23. 23. Spartacus Chetwynd <br />Marcus Coates<br />
  24. 24. Olivia Plender<br />The Folly of Man Exposed or the World Upside Down, 2006, Details<br />35 Warrender Park Road<br />
  25. 25. Disclosures II: The Middle Ages, <br />Laxton September 2008 - part of Histories of the Present produced by Nottingham Contemporary. <br />Featured Oliva Plender’s<br />Bring Back Robin Hood<br />
  26. 26. Michelle Cotton (Curator)The Long Dark (2009)Castlefield Gallery, Manchester<br />
  27. 27. Torsten Lauschman<br />The Darker Ages<br />Mary Mary, Glasgow, <br />until Sat 21 Nov 2009<br />
  28. 28. Martin Clark, Artistic Director, Tate St Ives; Michael Bracewell, writer and critic and Alun Rowlands, artist, writer and Head of Fine Art, University of Reading (Curators)<br />The Dark Monarch<br />Magic and Modernity in British Art<br />Tate St Ives 10 October 2009  –  10 January 2010<br />
  29. 29. Alex Pollard<br /> Robin Hood Vortex (2008)<br /> Oil on Canvas<br />Alex Pollard and Claire Stephenson – Four Fatrasies, Pump House Gallery, Battersea Park, London 20 January - 14 March 2010 <br />
  30. 30.
  31. 31. Plastique Fantastique <br />Ribbon Dance Ritual to call forth the Pre-Industrial Modern <br />part of The Event in Birmingham in April 2007 <br />
  32. 32. Spartacus Chetwynd Mime Troupe (left)<br />Spartacus Chetwynd Mime Troupe Feminism, Little Tales of Misogyny.<br />Sequences, Reykjavik, November 2009 <br />
  33. 33.
  34. 34. Eric Raymond (1999)<br />
  35. 35. ‘Cathedral’ model neomedievalism <br />
  36. 36. ‘Bazaar’ model neomedievalism <br />
  37. 37. Vince Koloski <br />A Maze Book (2000) <br />Neon, Carved acrylic sheet, Wood, Circuit board, and toy mazes<br />
  38. 38. Slides available at www.neilmulholland.co.uk<br />Licensed under a Creative Commons Attribution-Non-Commercial-Share Alike 2.5 UK: Scotland License.<br />

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