Program (in Russian) 

Conference program

Richard S. Wortman is Professor Emeritus at Columbia University. He is author of “The Development of a Russian Legal Consciousness” (Chicago, 1976) and Scenarios of Power: Myth and Ceremony in the Russian Monarchy” (2 vols. Princeton, 1995–2000). Both books have also appeared as Russian translations, which was awarded the George L. Mosse prize of the American Historical AssociationEfim Etkind prize of the St. Petersburg European University for the best western work on Russian culture and literature.

Alexei Larionov works for the State Hermitage Museum (since 1984) and is currently Senior Research Fellow at the Department of Western European art and Curator of Pre-Eighteenth Century Dutch, Flemish and German Artworks. His main interests are Dutch art of the 15th-16th centuries, the artwork of Rubens and the history of collections of paintings by Old Masters in Russia.

 

Gary Schwartz is an American art historian who lives and works in the Netherlands, and is an eminent expert in Dutch art, and is one of the leading experts on the works of Rembrandt. He has contributed a great deal to the determination of authenticity to many of Rembrandt’s works in museums around the world. He has been the Director of International Council For Curators of Dutch and Flemish Art (CODART) since 1998. His research, publications, translations of archival documents, and searches in museum storerooms have brought him worldwide authority.

Vladimir Orlov received his PhD in Music Studies from Cambridge University (Great Britain) after graduate studies at the State Institute of Art Studies (Moscow) and after graduating from the Nizhny Novgorod State Conservatory as a musicologist, organist, and an artist of chamber ensembles. He has lectured in the United States, Russia, and European countries. He has been in a series of academic publications in Russian and in English; his main research interests are the Silver Age of Russian culture and Socialist Realism.

In comparison with its Western counterpart, the architecture of Russian classicism has only partly been included in world architectural historiography. The reason for this is the range of social, historiographical, and political factors, which are responsible for the peculiarities of the environment of the development of Russian classicism. In contrast, Western European neoclassicism produced a far more transparent paradigm, well-thought out in the both the general cultural sphere and in professional contexts.

Over the last thirty years Media art has evolved into a vivid contemporary factor, Digital Art became the art of our time but has still not arrived in the core cultural institutions of our societies. Although there are well attended festivals worldwide, well funded collaborative projects, numerous artist written articles, discussion forums and emerging database documentation projects, media art is still rarely collected by museums, not included or supported within the mainframe of art history and nearly inaccessible for the non northern public and their scholars.

Lecture by Carlo Ginzburg (University of California, Los Angeles - UCLA)

Professor Mieke Bal, Royal Netherlands Academy of Arts and Sciences, presented video and lecture.

As a part of a series of Open Research Seminars of the Art History Department there was the lecture by professor Sarah Wilson, Courtauld Institute, University of London